Mac's new operating system was announced by Apple in June and if you chose to rely on the keynotes for the highlights then you've missed some amazing new features that have been flying under the radar. The update was rolled out officially late September.
Siri performs as normal when compared to on iOS, with results pinned to the notification centre as well as dragged to other apps. However, Siri also performs commands that affect the Mac hardware directly. It can adjust the screen brightness, turn Wi-Fi on or off, adjust the volume, put your Mac to sleep, and even start the screen saver. It has access to system information such as processor speed, memory, serial number, and how much space is left on the drive.
Mac gets the new machine, learning based image categorization that is now available on iOS, too. This detects animals, moods, scenes, and faces. It replaces the previous Faces feature and is more efficient than the old engine was.
You'll see a new album labelled People, it automatically identifies faces and groups the same ones automatically. Additionally, if there is contact information attached to a picture Photos will use that to name them automatically. Adding a name from your contacts is easy, too, and it will allow those images to merge, which builds the facial recognition database.
Mac messages don't allow for all of the same effects to be created like with iOS 11, however, it does play them back. When sending, or receiving a message containing URLs, the message with the load the name and image of the page. It's a more attractive, and friendly, method of sharing links.
Just at the top of the notes window, you will see a share button. Simply choose which method of sharing you'd prefer and share a link via Twitter, messages, or drop it on the clipboard. This is a great way for family and friends to operate, as once you have shared the note others can edit it at the same time as you are and the changes appear within seconds.
It works on your iPhone or Apple Watch- but your Mac knows when an eligible device is nearby. When browsing a website that has Apple pay enabled you can simply use Apple pay, provided your phone or watch is in range. You can watch the Apple pay button vanish and reappear as you move eligible devices within range.
You can keep windows open while watching a video with no worry about your other screens covering it. You can opt to keep the video in the corner, or hold the command key and move it to where you'd like.
There's a new editing effect in photos- Brilliance. It can brighten dark areas, increase contrast, and drop highlights. It's a new dimension in the automatic enhance tool, too, which changes how the tool works.
Previous operating system releases have included all Macs, with Sierra, however, the older Macs have finally been left out. Mac OS Sierra isn't compatible with any Mac devices released in 2009 or earlier.


ORLANDO, Fla. — Josh Jacobs' 77-yard kickoff return for a touchdown in the third quarter was the first since Kenyon Drake's memorable dash against Clemson in the 2016 national championship game.
It was the second big play on the night for the junior running back, having scored from 18 yards out earlier in the period.
Another defensive score: Shyheim Carter's 45-yard interception return for a touchdown was the 63rd nonoffensive score during Saban's reign, and was the 28th score via interception.
Native son: Austin Jones, the senior graduate transfer kicker from Temple, felt at home during his first game with Alabama having grown up in Orlando, Florida. He split his pair of field goal attempts, and missed one of his seven extra point attempts.
Unblemished openers: Alabama remained perfect in 12 season openers under coach Nick Saban and has now won 17 straight since dropping its inaugural contest in the 2001 campaign against UCLA.
Louisville was previously 7-1 in season openers under coach Bobby Petrino. The lone blemish was a 31-24 to Auburn to open the 2015 season in Atlanta.
Atoning for Fiesta fiasco: The Crimson Tide moved to 3-1 overall against Louisville, winning in 1976 and 1977 by a combined 79-6 score before being embarrassed by the Cardinals 34-7 in the 1991 Fiesta Bowl.
74 and counting: Alabama has defeated 74 consecutive unranked teams under Saban, the longest streak in FBS history. Alabama's last loss to an unranked team was a 17-10 defeat at the hands of Auburn on Nov. 24, 2007.
Tide trio: This is Alabama's third straight appearance at No. 1 in the Associated Press preseason rankings. The Crimson Tide now join Oklahoma (1985-87) as just the second team to start the season at No. 1 in three consecutive seasons since the poll began in 1936.
Orlando Magic: Alabama is perfect in three games in Orlando. The Crimson Tide won the 1995 CompUSA Florida Citrus Bowl, 24-7, over Ohio State, and was victorious in the 2011 Capital One Bowl, 49-7 over Michigan State.


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Home Research updates Genetic risk factors in disease
Genetic risk factors in disease
Ngā Kete: The Annual Collection of Reviews. This week's highlighted article is by Professor Grant Montgomery Hon FRSNZ and reviews how genetic mapping methods have progressed in leaps and bounds throughout the last 25 years.
In the review article 'Discovery of genetic risk factors for disease', Professor Grant Montgomery from the University of Queensland discusses advances in the field of genomics.
Hundreds of disease-causing mutations and genomic regions that contribute to a higher disease risk can now be identified using research methods such as genome-wide association study (GWAS).
In GWAS studies, the genomes of multiple individuals are scanned to identify small variations within the genome that occur more frequently within people with a particular disease, compared with those without the disease.
One of the human disease cohorts selected for GWAS by Professor Montgomery and his colleagues at the Queensland Institute of Medical Research was endometriosis. This painful inflammatory disease can greatly reduce a woman's quality of life as well as causing infertility in some cases and it affects roughly 1 in 10 women in New Zealand. The causes of the disease are poorly understood and Montgomery's team along with researchers from the UK, USA and Japan embarked on a mission to begin mapping its associated genomic regions.
The most recent results from the GWAS studies of endometriosis contained data from 11 groups across the globe and over 17,000 endometriosis cases. From their original number of seven identified genomic regions associated with risk for endometriosis, the researchers were able to double the number of regions in the latest research to 14, including genes involved in oestrogen signalling and response.
The impacts of similar international efforts to map thousands of independent risk factors for disease with GWAS are just beginning to be felt, with some progress already seen in other diseases like type 2 diabetes and schizophrenia.
GWAS results have highlighted the potential benefits of using knowledge of the genetic basis for disease, such as aiding in the development of new drug targets, clarifying the roles of environmental and biochemical exposure in disease development as well as helping to identify the genetic variants that determine a person's individual response to drugs.
Professor Grant Montgomery Hon FRSNZ
Professor Grant Montgomery was made an Honorary Fellow of Royal Society Te Apārangi in 2016 and holds joint appointments at the University of Queensland's Institute for Molecular Bioscience and the Queensland Brain Institute, he is also a Fellow of the Australian Academy of Health and Medical Sciences. His research focuses on discovery of critical genes and pathways increasing risk for common diseases especially endometriosis.
The review article 'Discovery of genetic risk factors for disease' has been published in Ngā Kete and is available free-to-access for a limited time at Taylor and Francis Online.
Next week in Alert, the highlighted article from Ngā Kete will be 'Understanding the geometry of dynamics: the stable manifold of the Lorenz system' by Professor Hinke Osinga.
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redpajama_set_name: RedPajamaCommonCrawl


Rabbi Daniel Epstein is the Senior Jewish Educator at the GW Hillel, where he serves over 3,000 Jewish students in the Washington, DC area. He previously worked for over 5 years as a financial adviser, bringing in millions of dollars to the bank, until he realized his true calling was to teach and learn Torah. Since then he has spread his love of Torah in camps, schools, colleges, shuls , hospitals and nursing homes. Epstein prides himself on being a Maggid (professional storyteller), lover of life, and father of three wonderful children, Jacob, Emunah and Ahava. Epstein knows over ten thousand stories which he shares in his weekly Torah e-mail, danstorah.com, to learn more and subscribe.


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Confounding Canyon Girls Seem Poised for Title Run
By JOHN ORTEGA
Canyon High cross-country Coach Dave DeLong is a little mystified entering today's Southern Section cross-country championships at Mt. San Antonio College.
Canyon, the state's top-ranked Division I girls' team, is favored to win its first section title in the meet that starts at 7:30 a.m, yet DeLong is surprised at how easily the Cowboys won their heat in last week's preliminaries.
"To be honest, I am a little bit baffled at how easy it looked," he said. "The girls ran easier than they had [in the Mt. SAC Invitational] and yet they dominated their heat. . . . We are a good team, but we're not so good that we should be doing what we did Saturday."
Paced by the 2-3-5 finish of junior Julie Harris, freshman Lauren Fleshman and senior Kellie Stigile, Canyon placed five runners among the top 14 finishers to score 28 points, well ahead of runner-up Arroyo Grande's 77.
Thousand Oaks, the defending Division I champion, was the state's No. 1-ranked team during the first half of the season, but the Lancers fell to second after finishing behind Canyon last month in the Mt. SAC Invitational. In addition, the Lancers haven't been at full strength for the past two meets.
Senior Tara Marsden and sophomore Erin Sorensen missed the Marmonte League championships because of illness. Sorensen had not recovered enough to compete in last week's prelims.
Thousand Oaks senior Kim Mortensen is heavily favored to win the individual title, but the Lancers' second-through-fifth runners must run substantially faster than they did in the prelims to defeat Canyon.
"Right now, we've got Kim and a bunch of barely sub-20 [minute] runners," Thousand Oaks Coach Jack Farrell said. "We've got five or six girls who could run between 19:30 and 20 minutes, but that's not going to beat Canyon. One or two girls are going to have to run down in the low 19s for us to win."
Based on times, Canyon had four girls ahead of Thousand Oaks' No. 2 runner in the prelims.
"I look at it on paper and I think, 'How can we lose?,' " DeLong said. "I guess it could be a year that the [other teams] are just a little bit off, or no one has stepped forward yet."
Canyon is among four teams from the region favored to win titles.
The Nordhoff boys, the two-time defending state Division III champions, finished 1-2-3-4-7 in winning their preliminary heat and are heavily favored to win their second consecutive Division III section title. Seniors Will Bernaldo and Omar Vega, and sophomores Victor Ochoa and Dusty Herman, all appear capable of finishing among the top eight individuals.
Sophomore Elaine Canchola is expected to successfully defend her individual title and lead Nordhoff to its second consecutive championship in the Division III girls' race.
Louisville, paced by senior Shaluinn Fullove, the defending section champion, is expected to win the Division IV title.
Hoover could win the Division I boys' title if junior David Lopez has recovered from a hamstring injury that kept him out of the prelims.
Lopez and Thousand Oaks senior Todd Disney could contend for the Division I individual title. St. Francis senior Kevin Koeper might do likewise in the Division III race.
The top four teams in each race and the top five individuals not on a qualifying team advance to next week's State championships in Fresno.
The City Section championships also are scheduled for today, at 8:30 a.m. at Pierce College.
The top two teams and the top five individuals not on a qualifying team will advance to the State finals.
Belmont, paced by individual favorite Manuel Lopez, is expected to win the boys' meet, but local runners could emerge victorious in the girls' race.
El Camino Real freshman Jamie Newman had the fastest time in last week's prelims, and Taft and Birmingham are among five teams capable of winning the team title.


It hurts to do a blockade in the nose? And how does this happen? It hurts to do a blockade in the nose? And how does this happen?
Intranasal N. b. can be performed both in inpatient and outpatient settings; in the latter case, the patient must be under the supervision of a physician during 30 min 1 h after the blockade due to possible development of intoxication phenomena. N. b. carried out under visual control with anterior rhinoscopy. Before the administration of the solution of novocaine, the nasal mucosa is smeared with a 1% solution of dicainum or an 12% solution of pyromeckain. Injection site is the side wall of the nasal cavity, anterior to the anterior end of the middle shell, or the anterior or posterior part of the inferior nasal concha. The solution of novocaine is injected under the mucous membrane or in the thickness of it. Intramuscular administration has advantages, since at the same time the drug comes into direct contact with the nerve endings that are in the mucosa.
Is it painful to pull out the wisdom tooth?
ceftriaxone hurt? Help, who did the injection CEFTRIAKSON, it hurts ?? Sraaachshno afraid of injections and now appointed?
what to do if it hurts to write already in the end .... please advise, what is this for the problem?
it hurts my throat to swallow, but there is no temperature! tell me what to do?
Is it painful to do a cystocope? and how is it done?


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Digital Marketing & Ad Tech News
Publishers Stare Down an 'Oh Sh*t' Mobile Moment
As Readers Turn to Smartphones, Publishers Struggle to Monetize the Traffic
By Michael Sebastian. Published on February 09, 2015.
More than half of The New York Times' digital audience comes from mobile.
Ask forward-thinking publishers what they worry about most and you won't hear about declines in print. What you'll hear about is the unfettered growth in mobile.
Last year, mobile constituted 60% of time spent on digital, up from 53% in 2013, according to ComScore. Yes, this mobile explosion is helping goose traffic at media sites. But they're failing to monetize it quickly enough, resulting in a widening gap between mobile readers and revenue. At The New York Times, for instance, more than half its digital audience comes from mobile, yet just 10% of its digital-ad revenue is attributed to these devices. "We knew 18 months ago, just like everyone else did, that our future was going to have a lot of dependency on our ability to close the monetization gap," said Meredith Kopit Levien, exec VP-advertising at the Times.
A high-ranking digital-media exec put the broader industry's state of affairs more bluntly: "We're looking at an 'Oh shit' moment."
The revenue gap isn't from a lack of ad dollars. In 2015, marketers are expected to spend $28.5 billion advertising on smartphones and tablets in the U.S., a 50% increase over last year, according to eMarketer. By 2018, ad spending on those devices is forecast to reach $58 billion, representing a quarter of all ad spending in the U.S.
"We're seeing significant increase from 2014 to 2015," said Rachel Pasqua, who leads the North American mobile practice at media agency MEC.
So far, however, the bulk of that money is going to digital giants like Facebook, where 69% of the company's $3.6 billion in ad revenue last quarter came from ads shown on mobile devices.
"What you'll notice is that not a single one is a media company," said Ryan McConville, chief operating officer at Kargo, which sells ads on premium publisher's mobile sites. "They're tech platforms. They don't make their own content."
There are several reasons why media companies are struggling to turn their mobile traffic into revenue. Screen sizes allow for fewer ads per page on mobile compared with desktop. "Page for page, if you kept your [advertising] rates completely flat, and you moved a reader from desktop onto mobile, you could literally get four times less revenue just because of the size of the screen," Mr. McConville said.
Ad rates are also cheaper on mobile. The cost per thousand impressions, or CPM, ranges from a few cents when an ad is sold through automated ad technology to about $20 for a site wrap on a premium website. But that same $20 ad could fetch $35 or more on desktop.
The ads are cheaper partly because they're smaller, but also because media-buying agencies and marketers haven't wrapped their heads around mobile yet. "A lot of brands and agencies don't have the manpower in house to make sense of it all," said Ms. Pasqua. "It's a matter of time for the industry to get a handle on where they're investing and how."
"It's still largely unchartered territory," she added. "When you have uncharted territory, the knee jerk is to go to the big player everyone is familiar with."
After a slow start in the mobile space, publishers are scrambling to peel mobile-ad budgets away from Facebook. Yahoo, for example, redesigned many of its mobile apps and sites and has automated the sale of its mobile search ads and mobile-native Stream Ads, making it easier to advertise to audiences on the go. Twenty percent of Yahoo's ad revenue now comes from mobile.
The Times' mobile strategy leans on native advertising. It has sold mobile-first native ads to Google, Emirates and Chobani, which sponsored the rollout of the Times Cooking app.
"In mobile, there is one container," said Ms. Kopit Levien. "News is presented in a listlike format and there's not necessarily any point of engagement aside from putting marketers content within that list."
But getting native ads through the edit-driven culture of the Times has been a hard sell. "We knew we were going to a mobile world and our theory was that in a mobile world the marketer would have to be a part of that stream," she said. Of course, the Times generates significant revenue from its readers. Subscriptions have swelled thanks to its introduction of digital-only subscriptions including the mobile app NYT Now.
Publishers without reader revenue are experimenting with other ways to make money from their content on mobile platforms. Last month, 10 media companies including Vice, Cosmopolitan and CNN partnered with Snapchat for the mobile messaging app's Discover, a feature in the app where users can view stories, videos and ads. "The mobile game is moving really fast right now," said Andrew Morse, CNN's head of digital. "We need to be running."
Tiny Screen, Big Issue
It's not just your eyes -- mobile ads are harder to see.
Just 44% of ads served on the mobile web during the fourth quarter met the Media Rating Council's viewability standard, according to an analysis by digital measurement firm Moat, which looks at data across more than 10,000 sites.
"Mobile viewability is actually worse than desktop," said Moat CEO Jonah Goodhart. Nearly 51% of the display ads that appeared on desktop sites during that time were viewable.
The ability to actually see digital ads, which the media and marketing industry refers to as "viewability," became a major topic of conversation last year. The spark was when the MRC, in collaboration with the Interactive Advertising Bureau, released standards saying an ad is considered viewable when at least 50% of it shows up in the viewable portion of a browser for at least one second.
But don't expect a mobile standard in the near future. "There are no workshops on mobile viewability scheduled as of yet," an MRC spokeswoman said.
An IAB spokeswoman said the organization is gathering senior leaders from companies that buy and sell media to discuss mobile measurement. "Later in the year, we will start a working group to begin updating IAB's existing mobile ad-measurement guidelines with more explicit viewability requirements and writing an industry standard with our partners from across the ecosystem," she added. -- Michael Sebastian
Michael Sebastian
Michael Sebastian covers digital and traditional media, the trends affecting them and their fight over both advertising dollars and the attention of readers and viewers. In covering the evolving media business, his beat has grown to include the worlds of content marketing and native advertising. He joined Ad Age in 2013 after founding PR Daily, a daily news site covering digital marketing and public relations. He started his career as a newspaper reporter in Chicago.
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http://tvtropes.org/pmwiki/pmwiki.php/VillainSong/Theatre
Villain Song / Theatre
AwesomeMusic
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Villain Songs in theatre.
Portal 2: The Unauthorized Musical has two, one for each villain.
GLaDOS has "Poor Unfortunate Subjects", in which she gloats over Chell being at her mercy again, and expresses her fury over Chell killing her.
You lucked out and passed all of your tests the last time
I know that you thought that you could forget
But I feel you've been misled
I've been busy being dead
We've both said a lot of things that you'll regret
Initially averted with "Running The Whole Machine", in which Wheatley mocks GLaDOS for being absolutely powerless to stop him from freeing Chell. However, it's played straight when Wheatley goes mad with power, deciding he'd acutally rather keep Chell inside Aperture to run tests for him and ending with him punching both GLaDOS and Chell down the elevator shaft in a fit of rage.
When Giuseppe Verdi and Arrigo Boito wrote an opera over Shakespeare's Othello they added the aria "Credo in un Dio crudel" ("I believe in a cruel God"), a sublime villain song, where the villain Iago, in a parody of a Christian creed, confesses to do evil because the world is pointless and everything is ruled by Fate
And after all this mockery comes death.
And then? And then?
Death and Nothingness
Heaven is an old wives tale Ahahahahahahaha!
Also Verdi: "La donna è mobile" from Rigoletto is the Duke's villain song and apparently he sings it a lot. A lot of the commercials that use it to sell their products seem to forget it's a villain song.
Act One of Puccini's opera Tosca ends with the corrupt police chief Scarpia gloating , because he has gained a hold on the title character that will force her to succumb to his perverted desires. And if that was not creepy enough, there is a simultaneous Te Deum to provide Ominous Latin Chanting. In Act II, Scarpia gets another solo in which he professes his lustful urges to Tosca, Gia mi dicon venal .
Le Veau d'Or from Gounod's Faust, sung by Mephistopheles himself. Mephistopholes also gets the mocking serenade, Vous qui faites l'endormie , which has one of the best EvilLaughs ever.
Faust operas are great for this kind of thing. Mefistofele, in Arrigo Boito's Mefistofele, has some awesome ones. "I am the spirit that denies all things..." Creepy .
The villain Caspar in Carl Maria von Weber's Der Freischütz gets two of these: the first, "Hier im ird'schem Jammerthal" , a drinking song about the pleasures of wining, wenching, and gambling, and the second, "Schweig', damit dich niemand warnt" , calling upon the spirits of evil to take the hero instead of him, now that his deal with the devil is coming to its end. (In addition, there is an entire scene devoted to summoning up the devil in order to cast the magic bullets that give the opera its name.)
The Secret Police Agent in Menotti's "The Consul" has a pretty terrifying aria in the first act, where he attempts to intimidate the protagonist, Magda Sorell.
Claggart's song "O beauty, O handsomeness, goodness!" in Benjamin Britten's Billy Budd. Unlike a classic Villain Song in that he is anything BUT happy about his situation... still. You've gotta love a song with lyrics like "There I established an order such as reigns in Hell", and "With hate and envy I am stronger than love", and "I, John Claggart, Master-at-Arms upon the Indomitable, have you in my power, and I will destroy you, I will destroy you."
The pagan sorceress Ortrud in Richard Wagner's Lohengrin has a short aria, "Entweihte Götter" , in which she calls upon the gods to help her deceive and avenge herself upon her Christian enemies.
In Amilcaire Ponchielli's opera La Gioconda, the villainous Alvise Bodero plots to murder his unfaithful wife via poison and put her corpse on display during a ball to show his guests what happens to those who betray him: Si, morir ella de! .
Lord Ruthven's aria "Ha! Welche Lust!" ("Ha! What Pleasure!") from Marschner's Der Vampyr is all about the joys of sucking the blood of innocent, terrified maidens.
The Queen of the Night's ear-splittingly infamous aria Der Hölle Rache kocht in meinem Herzen. She forces her daughter Pamina to assassinate Sarastro upon pain of disowning and cursing her. Damn, that's cold.
Susannah has Olin Blitch with a villain sermon.
Ha! welch' ein Augenblick! from Beethoven's Fidelio (in which the evil prison governor Pizarro rejoices in the fact that the forthcoming "surprise" inspection by the Minister of Justice will require him (Pizarro) to do what he could have done at any time he wanted, ie. kill his unlawfully imprisoned rival Florestan).
Probably the first great English villain song, Wayward Sisters from Purcell's Dido and Aeneas is the Sorceress' villain song. She sings it while summoning her fellow witches to plot Dido's death.
Les Misérables has two, with Thenardier singing "Master of the House" and "Dog Eat Dog". (Three, if you count "Beggars at the Feast", which is the same tune as "Master of the House" but with new lyrics.) The primary (albeit misguided) antagonist, Inspector Javert, has the song "Stars".
"Master of the House" is an interesting one because it stands out as a moment of relatively light relief in a musical about rebellion, tragedy and romance.
The most villainous of all these possible Villain Songs might well be "Dog Eats Dog", in which Thenardier sings about the joy of robbing dead bodies. Unlike in some cases, this fails to seem like lovable roguery at all — it finally hits the audience in the face that Thenardier really is scum. And most of those he is robbing are essentially youths and children, including his own son and daughter.
And "Beggars at the Feast" is sort of a Villain Song in that it further outlines the Thenardiers' ideals and motivations (though by the point in the play when it's sung, their motivations are pretty well established). Singing to the Lord on Sundays, praying for the gifts he'll send, but we're the ones that take it, we're the ones who make it in the end! It's also essentially the Karma Houdini trope summed up in a song—the last line is even "when we're rich as Croesus, Jesus won't we see you all in Hell!"
"Stars", Javert's song, is an interesting version. Though Javert is the primary antagonist, his song is a very beautiful, melodic song about doing his duty to God and being a servant of justice; he doesn't see the motives or plans he's singing about as "evil". It can be played as confident and determined or softer and more humble depending on the actor. The implication is that though Javert may be not be a nice or good man by any stretch, he's not really evil. The tone contrasts well with "Dog Eats Dog", which is the REAL villain song of Les Misérables, identifying Thenardier as far more evil than Javert. One might even say that "Stars" is an Anti-Villain Song.
"When the Night Wind Howls" from Ruddigore.
Subverted in the first act, where Sir Despard makes a Dastardly Whiplash quality entrance, but his song is a "The Villain Sucks" Song about himself — because, of course, his ancestors are forcing him to be a Designated Villain.
"Bon Voyage" from Candide, except for the (increasingly sarcastic) chorus part, is all Evil Gloating from the Governor (or Vanderdendur, depending on the performing edition) about the profits he made from putting Candide on a totally unseaworthy boat.
Oh but I'm bad, oh but I'm bad,
Playing such a very dirty trick on such a fine lad.
I'm a low cad, I'm a low cad,
Every time I do this sort of thing it makes me so sad.
Every 'villain gets one in the Sailor Moon stage Musical adaptations, the Sera Myu. Some villains who were the baddies of multiple musicals got multiple songs, notably Queen Beryl and Sailor Galaxia. The two even SHARED a song, titled Yamikoso Utsukushii ~Galaxia no Iradachi~ (Darkness is Beautiful ~Galaxia's Irritation~) in one musical wherein Galaxia revived Beryl. (Or rather it was set up Beryl's original villain Group song, with additions of Galaxia snaking about how she's just using Beryl in the long run in the background) Villain songs in the Sera Myu generally fell in one of two categories: Songs for individual villains, and songs for the baddie group as a whole. An example of the former is Yami no Hitsugi (Coffin of Darkness), which is all about Queen Beryl, while an example is the original Yamikoso Utsukushii which was for the Dark Kingdom as a whole and their Evil Plans. When a villain shows up in a later (unrelated) musical they sometimes get a new song, sometimes they re-use an old one. Rarely a villain could also share a theme with a Senshi, an example of this rare type is Onna no Ronsou (Dispute between Women) which was sung between Sailor Pluto and Queen Beryl describing how they were similar and their shared unrequited love for Mamoru.
Dr. Robotnik has Give Me Chaos from Sonic Live In Sydney where brags about how mean he is, how he plans to trap Sally to lure in Sonic and his preference for Chaos instead of good.
Although Max and Elsa don't have a Villain Song in the film of The Sound of Music, in the original stage production they have two, "How Can Love Survive?" and "No Way To Stop It".
"Blood in the Water" from Legally Blonde, in which Callahan teaches his students how to become amoral attorneys.
"The Mad Hatter" and "I Will Prevail" sung by, you guessed it, the Mad Hatter in Wildhorn's "Wonderland", a musical adaptation of Alice in Wonderland. Because, you know, high notes higher than Alice's mean the Hatter is obviously evil. "Hatter" serves as an eponymous introduction song, while "I Will Prevail" opens act two with a bang —and more Incredibly Long Notes.
Similarly, the manic milliner struts her manipulative side when she entreats Alice's daughter Chloe to join the Hatter and her minion on "A Nice Little Walk".
The original version of the show (which held its tryout run in Tampa back in 2010) included a song for the Jabberwocky entitled "Misunderstood ", although it's more of a subverted Villain Song, as he claims himself to be Necessary Evil in a world where "you can't know pleasure if you don't know pain", even justifying his actions by claiming that he was born to be a man-eating monster, and that it's really all he can do. Sadly, both the song and the character were cut from the show once it hit Broadway.
"It Ain't Necessarily So" and "There's a Boat That's Leaving Soon For New York," Sportin' Life's songs mocking a sermon and tempting one of the protagonists to a life of vice respectively, from Porgy and Bess.
Assassins has a ton of them, appropriately enough for a play about presidential assassins. "The Ballad of Booth", "The Gun Song", "The Ballad of Czolgosz", "The Ballad of Guiteau" and "Another National Anthem" are all unusual variants of the standard Villain Song. The most iconic villain song of the musical is "Everybody's Got The Right", a irony-tainted song where the assassins proclaim everybody has the right to pursue the American Dream through any means neccesary...including presidential assassination.
Probably the most unusual villain song in the musical is "The Ballad of Guiteau", where the villainous Charles Guiteau sings a demented hymn as he tap-dances up to the gallows. What makes it unusual is that the lyrics are taken from a poem that the real Charles Guiteau wrote on the way to his execution; Stephen Sondheim simply set it to music.
Well, Guiteau's continual "I am going to the Lordy/I am so glad" refrains are. The Balladeer's lines, obviously, are written by Sondheim.
The Villain Protagonist of Sondheim's Sweeney Todd: The Demon Barber of Fleet Street gets "Epiphany".
Judge Turpin also has a Villain Song, though it's sometimes cut. Probably because, well, he's whipping himself and praying in between lusting after Johanna (suggesting that he practices self-flagellation or is just a freaky masochist). Programs and cast albums usually list this song as "Johanna", but it has no musical connection with Anthony's love song "Johanna" in the first act (which is the one performed outside the show under that name), or the "Johanna Sequence" in the second act, which includes a portion of the earlier "Johanna" in between new verses which Todd sings to himself as he offs his customers.
"A Little Priest" also fits the rules for a villain song: where "Epiphany" describes Todd's violent reaction to an awful world, "Priest" is Mrs. Lovett's refinement of the idea into a practical ("yet appropriate as always") course of action. And also contains justifications for their awful scheme: "save a lot of graves, do a lot of relatives favours" for instance.
Parodied in The Mikado with "I've Got a Little List". The scary executioner gets a Villain Song, in which he rattles off a Long List of Acceptable Targets whom he intends to kill — and in the next dialogue scene, we learn he's a spineless wimp who is terrified of killing. Except that the executioner is more of an Anti-Hero. The primary villain song is probably "Your revels cease - O Fool, that fleest my hallowed joys", sung by Katisha.
Though the pirates in The Pirates of Penzance aren't exactly villains, they do get a show-stopping Villain Song in "With Cat-Like Tread".
The Pirate King gets his number "Pirate King" which is all about how awesome it is to be a Pirate King. Naturally he's something of an Anti-Villain.
And there's a short one with Pirate!Ruth about how they're going to kill the Major-General and his daughters, called Tonight He Dies.
"Progress is the Root of All Evil" from the musical adaptation of Li'l Abner.
"The Seven Deadly Virtues" from Camelot. Also, Mordred and the knights have "Fie On Goodness" after their collective Face–Heel Turn, in a number dropped from many productions (the original Broadway production dropped it just after its inclusion on the cast album, which has the ensemble fill in for Mordred for some reason).
The title theme of The Phantom of the Opera ("The Phantom of the opera is there/ Inside your mind!").
Since the Phantom is turned into an even bigger Woobie in the Arthur Kopit/Maury Yeston take on the story, he doesn't even get that much (except perhaps his Villainous Breakdown towards the end of "Christine".) Carlotta, however, has the gloating "This Place Is Mine".
In the sequel, Love Never Dies, Madame Giry's part in "Devil Take The Hindmost" also fits this.
"You Can Get Away with Anything" from The Woman In White.
The motivations of Buffalo Bill were revealed by "Are You About A Size Fourteen?" in Silence! The Musical.
Don't forget "I'd Fuck Me "!
The Trans-Siberian Orchestra Rock Opera Beethoven's Last Night has two: "Mephistopheles", where the titular demon proclaims himself "god of second chance" while trying to cut a deal with Beethoven, and "Misery", when Mephistopheles gleefully threatens to maim, cripple, torture, and eventually kill a child if Beethoven doesn't give him what he wants. Both get sung way over the top, with much scenery-chewing and Large Hammery.
TSO also included an equally hammy Villain Song in their album The Lost Christmas Eve: "What is Christmas?", sung by the Scrooge-like antagonist.
"Don't Nobody Bring Me No Bad News" is the mantra of Evilene, the Wicked Witch of the West, in The Wiz.
The Cellblock Tango in Chicago. Awesome song, mood lighting, and girls prowling around in leather underwear talking about how their murders were completely justified.
He had it comin'!
Of course, the innocent Hungarian prisoner's verse states her guiltlessness for real, and of course she's the only one who pays for it. Crapsack World indeed.
From the same musical, "All I Care About is Love", sung by Billy Flynn. The entire song is a lie.
An even better example for Flynn is "Razzle Dazzle" , where he gleefully gives a show-stopping number about getting away with anything by using pure showmanship.
Almost every song from Chicago (except for "Mr. Cellophane" and "A Little Bit of Good" (sung by Mary Sunshine in the show)) could be considered a Villain Song, as almost all of the main characters are murderers or corrupt.
Notably averted in Wicked. Fiyero's song "Dancing Through Life" is a textbook cackling song about his nihilistic philosophy, but he turns out to be a much better person than he seems. The Wizard's song, "Wonderful", is the very opposite of a standard Villain Song: he's trying to justify his crimes by playing humble and innocent, and (unlike The Sound of Music) is still the Big Bad. Elphaba (the heroine and titular Wicked Witch) even gets one in "No Good Deed", but it's undercut by the fact that she's rocketing through the stages of grief and has some full blown Sanity Slippage/Heroic BSoD going on by the end. Despite her big talk, she never can bring herself to be the villain. "March of the Witch Hunters" comes close, especially the Tin Man's parts, but they truly believe that they're doing the right thing and are unaware that they're being manipulated by Madame Morrible. Finally, "Wicked Witch of the East" can almost be read as one, except that Nessarose is mourning the fact that she somehow became the villain without noticing.
From Hairspray, "(The Legend of) Miss Baltimore Crabs". Front step, cha-cha-cha... There's just something about that one line that screams "you're walking into the serpent's lair". Michelle Pfeiffer even said she signed on for this one song. It's not hard to see why.
Her daughter Amber has "Cooties", a mean-spirited Take That! song not-so-subtly directed at Tracy.
The Corny Collins Show council contribute to both of these.
Macavity, the levitating crimelord cat from Cats. His song (though he doesn't sing it himself) is a lengthy paean to his Magnificent Bastardry, and is likely the one song besides "Memory" that is most remembered from the play.
Mungojerrie and Rumpelteazer sing a song congratulating themselves on their thievery, but they're more of a Quirky Miniboss Squad.
Most songs from The Black Rider: The Casting of the Magic Bullets are pretty creepy, but Pegleg gets in three songs of his own: "Just The Right Bullets", "Flash Pan Hunter", and "Gospel Train".
Since Woyzeck has so many villains, each one gets their own song: the Doctor has "God's Away on Business", the Drum Major has "Another Man's Vine" and a creepy duet with Marie called "Everything Goes to Hell", and the Captain gets "Starving in the Belly of a Whale".
"The Soviet Machine" from Chess, sung by Molokov and the KGB Agents.
"Difficult and Dangerous Times", also titled "US vs. USSR" (formerly a part of "Opening Ceremony"), which is basically a villain song for Cold War politics in general.
But we're gonna smash that bastard!
Make him wanna change his name—
Take him to the cleaners and devastate him
Wipe him out, humiliate him...
"Was I Wazir?" from Kismet.
The Engineer's ode to America's love of depravity (and his love for that) in "The American Dream" from Miss Saigon. "If You Want to Die In Bed" also counts as it spells out his goal to save his own skin. Actually, anything the Engineer sings might fall under this trope...
Jekyll & Hyde gives Edward Hyde "Alive" , where he sings about how being so free and evil makes him feel passionate about living. At one point, the music swells triumphantly as he boasts that he'll live on forever with Satan himself by his side.
Giovanni's "It Will All Be Mine" from the Pokémon Live! musical. Sung by Darren Dunstan, possibly better known as the American voice of Pegasus.
He also twists two other songs into Villain Songs: "You and Me and Pokémon" and "Everything Changes".
Team Rocket got a subversion of the traditional Villain Song called "The Best at Being the Worst", centering around their own incompetence at what they do.
"Double Trouble" could also count, which has Team Rocket showing enjoyment of being bad guys. However, this originally had a longer version of from a CD the show put out which had several other songs that were in the musical, including "Misty's Song" and "Two Perfect Girls".
"Cool, Cool Considerate Men" from the musical 1776 lays out the reasons Dickinson and his supporters don't want independence: they're comfortable as they are, they don't want to put their wealth and property at risk for a cause they think can't win, and they think the common man will follow them because they're pretty cynical about him. It's accompanied by a big dance number on the floor of Congress.
"Molasses to Rum" for Edward Rutledge, which is also him saying that the South and the North are Not So Different—they both, in different ways, participate in and profit from the slave trade. Therefore, not only must the anti-slavery clause be removed from the Declaration, the Northerners are absolute hypocrites for wanting it there in the first place.
"Falcon in the Dive" from the musical adaptation of The Scarlet Pimpernel (which conveniently comes after the main heroic song, "Into The Fire", in the libretto).
"It's All About The Green" in the musical adaptation of The Wedding Singer - though Glen is more of a Jerkass than an outright villain, and there are cooler songs in "Casualty of Love", "Today You Are A Man" and others, it's still right up there.
"Bolero de Amore" in Barry Manilow's Copacabana.
The Musical version of Peter Pan gives one of these to Captain Hook. Given the tone of the play, Hook's Card-Carrying Villain status, and his word choice, however, it's halfway between one of these and a "The Villain Sucks" Song. In some versions, Hook and Smee have "Never Smile at a Crocodile".
"Those Were The Good Old Days" from Damn Yankees which also somewhat parodies the "I Want" Song. Applegate laments how much easier being evil was in the days of Nero, cannibals, and Lady Guillotine.
"A Little Brains, A Little Talent" for Lola, as well as "Whatever Lola Wants", although she turns out to be not so bad.
"Tomorrow Belongs to Me", the Nazi anthem from Cabaret. It was so realistic and of the spirit that it got the (Jewish) producers accused of anti-Semitism!
The Producers likely invoked this with the title song of "Springtime for Hitler"?
In Urinetown, several songs go to the bad guys, including "Cop Song" which goes to the henchmen as well as "Don't be the Bunny" and "Mister Cladwell" going to the main villain Mr. Cladwell. The latter of which is an outright song praising his virtues (Mister Cladwell, you're so Godly/oddly perfect and right).
Anyone Can Whistle has several songs for the evil Mayoress Cora Hoover-Hooper. The best of these is the first song of the show, "Me And My Town", in which she laments her 0% Approval Rating.
"The Spring Of Next Year" from Dear World.
Jim Steinman's unproduced Batman Musical has two villain songs. The corrupt officials controlling Gotham City sing "In the Land of the Pig, the Butcher is King" (which was later covered by Meat Loaf) while The Joker gets the song "Wonderful Toys" which is perhaps the most insane and over the top villain song you could hope for.
"Do, a deer, I killed that deer..."
A Funny Thing Happened on the Way to the Forum has Miles Gloriosus bragging about his accomplishments (many of which are rather unsavory) in "Bring Me My Bride".
I, Miles Gloriosus
I, slaughterer of thousands
I, oppressor of the meek
Subduer of the weak
Degrader of the Greek
Destroyer of the Turk
Must hurry back to work
Oliver! has several Villain songs: Big Bad Bill Sykes gets "My Name" and the Affably Evil Fagin actually gets two, "You've Got to Pick a Pocket or Two" and "Reviewing the Situation" (in the reprise especially). That Fagin gets more than the real villain isn't too surprising though, since the role is usually played as a Large Ham.
In Annie, Miss Hannigan expresses her hatred for children in "Little Girls"; later, she is joined by her sleazy brother Rooster and his airhead girlfriend for the song "Easy Street".
I Can Get It For You Wholesale has "The Way Things Are", in which the protagonist says There Are Two Kinds of People in the World, and he wants to be the kind that gets to step on the other kind.
In Baker Street: A Musical Adventure Of Sherlock Holmes, Moriarty has the Evil Gloating song "I Shall Miss You".
"Let Things Be Like They Always Was" from Street Scene is less of a song than a Puccini-like aria, but it certainly sounds dark and menacing. It's Mr. Maurrant's only uninterrupted solo, in which he gives vent to his bitter reactionary attitude.
John Howard's dark and menacing march "Power" in Keating!. Which is then hilariously contrasted with "The Mateship".Whether he's a villain in Real Life depends which side of the political spectrum you're on, but he definitely qualifies in the musical.
The little-known German musical Hexen has "Gleich", sung by the Magitek witch Clony, whose magic borders on Mad Scientist territory. Clony doesn't consider herself evil and really thinks she's doing humanity a favor by giving everyone armies of clones of themselves to do all the work, but she is nevertheless an unabashed egotist who gets a huge rock number in which she praises her own intellect, style and superiority over everyone else. Not to mention that the plan she's explaining is essentially one for slavery.
Tanz Der Vampire has Ewigkeit, in which a whole chorus of vampires rises from their graves and plots to make humanity as miserable and insane as they are. It happens to be the most chilling song in the whole musical.
Sophie in Elisabeth, as more of a Knight Templar than a really sinister villain, has the rigid "Eine Kaiserin muss glanzen!" ("An Empress Must Sparkle!"), in which she bullies her newly-married daughter-in-law into (temporary) tears and submission. Later on, though, she sends her son to a brothel to weaken his marriage, and the shady madam and prostitutes' song "Nur kein genieren" ("Don't Be Ashamed, Dear") fits into this trope fairly well.
There's also the bouncy "Kitsch", which serves as a villain song for the murderous, sarcastic Lucheni and as a kind of "The Villain Sucks" Song for the selfish Elisabeth as well as all of her fawning, devoted subjects- including the audience.
"Der letzte Tanz" may count, considering it is a personification of Death showing up to menace Elisabeth at her wedding, gloat about how he'll win her in the end whether she likes it or not, and basically stop the show.
"Die Schatten werden länger", which is all about Death trying to convince Rudolf to commit suicide.
The title song from Kiss of the Spider Woman.
The Spider Woman isn't so much the villain of that show as a character's nightmare. A better villain song would be "Lucky Molina".
"I'd Rather Die on My Feet Than Live On My Knees" for Thomas in The Beautiful Game. The song is short and Thomas isn't exactly a show stopping villain, but it's extremely effective in vilifying the guy. For the majority of the show he was a misguided jerkass, but not worse than some of the others.
"Big News!" and "Real Big News!" for Britt Craig in Parade, "That's What He Said" for Jim Conley, "Something Ain't Right" for Hugh Dorsey, "Hammer of Justice" for Tom Watson, and "Where Will You Stand When the Flood Comes", as led by Tom Watson.
Also played with in "Come Up to My Office", which is sung by Leo Frank, but is actually a fabricated account on the part of the prosecution.
Mozart! features a mute villain- Mozart's own genius, portrayed a a demon/Creepy Child in the shape of Mozart himself at age six or so that follows the adult Mozart around, constantly composing and using Mozart's blood as ink. Thusly, the big showstopping villain-song-stand-in goes to Archbishop Colloredo, who's more of a petty annoyance than anything, in the form of "Wo Bleibt Mozart?" It's still pretty grandiose and nasty to the title character.
If we count Colloredo as a villain, "Der einfache Weg" fits the bill: it demonstrates Colloredo's attitude towards music, method, and goal of trying to coax Mozart back to his side. With a hefty side of attempted manipulation of Mozart's status as a "Well Done, Son!" Guy.
Radames' father, though not the main villain of Aida gets two: the standard "Another Pyramid" and "Like Father, Like Son", which Radames tries to turn into a "The Villain Sucks" Song. He fails.
The Anti-Love Song "To Keep My Love Alive" from A Connecticut Yankee.
"Evil Woman" from Xanadu.
"The Madness of King Scar" from The Lion King Broadway musical, in which he demonstrates his growing schizophrenia and essentially tries to seduce/rape Nala. This is new to the musical, but is based on a deleted scene from the movie.
Arguably, Rose's Turn, from Gypsy. It depends on whether or not you view her as the antagonist, and even then it might be a Villainous Breakdown.
Another example could be "Everything's Coming Up Roses". Louise and Herbie are certainly horrified.
"They Don't Know" from Thoroughly Modern Millie.
"Muquin" also. Although that may not be a villain song so much as Meers giving her henchmen some more motivation.
Depending on the production, "Shoes Upon the Table" can be played this way in Blood Brothers.
In Jesus Christ Superstar, the high priests get "This Jesus Must Die", which is rather self-explanatory. If you ignore the words it's one of the most upbeat and catchy tunes in the whole show.
There's also "Herod's Song", another seriously catchy number.
Norman Jewison's film version also adds "Then We Are Decided", which figures as both another Villain Song and an "I Want" Song for Caiaphas and Annas.
A Very Potter Musical:
The upbeat, show-stopping "Dance Again", in which a newly reborn, shirtless, sexy Voldemort tap dances and leads a deatheater kickline. Voldemort and Quirrel also have the duet "Different As Can Be" where they sing about what an Odd Couple they are as a pair of villains, and a cheerful reprise after they've done some serious bonding.
Draco's "Back to Hogwarts" solo can be quite evil, considering that he's a short woman in a blonde wig playing a delusional pratfaller twelve-year-old boy in a comedy/parody. Needless to say, the delivery is brilliant.
Look out world, for the dawn of the day
When everyone will do whatever I say
And that Potter won't be in my way, and then
I'll be the one who is totally awesome!
Quirrel & Voldemort sing a duet "Different As Can Be" early on, about what an Odd Couple they are. They get a reprise a few scenes later, but rather than being darker, it's as upbeat as can be, despite including the lyrics "We'll lead 'em to the slaughter/And we'll murder Harry Potter!"
Voldemort gets a second song after his resurrection, entitled "Dance Again" which culminates with him and the Death Eaters doing a kickline.
Umbridge's showstopping number "Stutter" from A Very Potter Sequel. The Dementor back-up dancers have to be seen to be believed.
The first song "Not Over Yet". It is sung by Lucius Malfoy, outlining his plan to prevent Voldemort's defeat by using a Time Turner to kill Harry in his first year of Hogwarts.
Our history is nothing more than what the losers settle for.
In Starship, Pincer has "Kick it Up a Notch". It is later reprised by Junior.
"Rogues are we" from Holy Musical B@man.
Twisted: The Untold Story of a Royal Vizier has the titular song "Twisted", sung by Ursula, Scar, Gaston, Maleficent, and Captain Hook (along with a very brief appearance by Cruella DeVil). With all these iconic Disney Villains, it sounds like a typical Villain Song, right? It's not. It actually details how each of the villains' stories were twisted by the heroes in order to make them LOOK like the bad guys, when in reality, they were good-hearted souls who just wanted to make things right.
Played straight with Aladdin's "I Steal Everything", Prince Achmed's "No One Remembers Achmed", and the Dark Reprise for "The Golden Rule", sung by the Royal Vizier and his Mooks.
In the 12th century liturgical drama, the Ludus de Herode, Herod and his son have a duet, Salve, pater inclite, in which they threaten the newborn Messiah.
Turnabout Musical, the musical adaptation of Phoenix Wright: Ace Attorney, has some good ones in the making: Winston Payne's comical "Rookie Killer", Redd White's catchy "Redd White and You" (a plain-clothes rehearsal can be seen here ), and Manfred von Karma's appropriately haunting, though strangely baritone, "Anything to Win" — Ominous Latin Chanting included. Fortunately, the "hero songs" are very much a match for them.
Salieri in Mozart L'Opera Rock has several songs, but perhaps the best example of this trope is "Le bien qui fait mal", which is all about how he's "Envoûté par des idées folles/Bewitched by crazy thoughts", and "Je sens de violentes pulsions/I'm feeling violent impulses", oh and "Le désir devient ma prison/Desire has become my prison". Salieri's clearly losing it.
"One Touch Of Alchemy" in Knickerbocker Holiday, the culmination of Stuyvesant's New Era Speech. Shortly after, he has a duet with one of his henchmen, "The One Indispensable Man".
The true antagonist of Next to Normal is mental illness, but a secondary villain is Gabe, who certainly enables Diana in her mental illness (and even leads her into a suicide attempt, in "I Dreamed A Dance"). His song "I'm Alive" and its extremely Dark Reprise could be considered Villain Songs.
If you consider Gabe as an avatar for Diana's mental illness the song gets even darker.
A brief, out-of-context clip attests that Enron has at least one good villain song with Jeff Skilling's "Primetime for Skilling". ("I'm the boss, here's the gist; I'm the guy who gets to lie to analysts...") Actually, at least half of the twenty-six songs listed sound like contenders.
In both the movie and musical versions of Evita, Che (who isn't quite the villain, but he's close enough) has "Oh What a Circus". There's also the short and sinister "The Art of the Possible" with Peron, and the fantastic "Waltz for Eva and Che" with, well, guess.
Jud Fry, the villain of Rodgers and Hammerstein's Oklahoma! gets "The Lonely Room". It's almost enough to make you feel sorry for the guy.
Groovelily's musical Sleeping Beauty Wakes has some marvelous villain songs by the Evil Fairy: "Uninvited" , about not being invited to the celebration of the princess' birthday, and "The Wheel Goes Round", sung when she's in disguise trying to lure the princess to the spinning wheel.
"Pirate Jenny" is a Villain Protagonist song about cold-blooded revenge from The Threepenny Opera
They move in the shadows where no one can see
And they're chainin' up people and they're bringin' em to me
askin' me, "Kill them NOW, or LATER?"
Askin' ME! "Kill them now, or later?"
Noon by the clock, and so still by the dock
You can hear a foghorn miles away
And in that quiet of death, I'll say, "Right now."
Then they'll pile up the bodies
And I'll say, "That'll learn ya!"
Even though It's a parody to a Fiddler on the Roof, A Shoggoth on the Roof has some pretty dark tunes. Turning famous songs into a Lovecraftian induced musical. A lot of these can be considered villain songs in their own right, but the one the takes the cake is easily "Do You Fear Me?" which is sung by... Cthulhu himself! Even though The Nightmare is a close runner up due a portion of it dedicated to The Ghost of Lavinia Whately singing about her plan to have her two sons raping Armitage's daughter Prudence with Tentacles!
Audrey II from Little Shop of Horrors got "Feed Me" and "Suppertime". From the same musical, Orin had "Dentist!". In the film version and some productions, there is a song called "Mean Green Mother From Outer Space" for Audrey II. There was also a Cut Song for Audrey II titled, simply, "I'm Bad". Furthermore, a little-known Cut Song from the stage version, a reprise of "The Meek Shall Inherit", would have gone to Patrick Martin, the man that sells the plants across the nation and thus brings about the end of the world.
"The Meek Shall Inherit" is already pretty sinister; even if they don't know they're doing it, the singers are encouraging Seymour to kill more people so he'll be famous.
"Z: The Masked Musical" (which never got past the concept album stage) featured the alcalde's delightful "Glorious, Gluttonous Greed", in which he recounts his love of money, revels in the suffering of the peasants, describes his plan to purchase a noble title, and demonstrates the ability to count and identify coins just by the sound they make hitting the table. The rest of the album is execrable.
Seussical (That's right, there's a Dr. Seuss musical) has General Ghengiz Khan Schmitz's "The Military Academy" and Mayzie's "Amazing Mayzie". The Sour Kangaroo doesn't have one, oddly, despite being the main antagonist, although she does have some lines in "Biggest Blame Fool" which could count.
The original version of Starlight Express had "C.B." the gleeful confession of a serial killer caboose. It makes sense in context.
While the character of Greaseball is not anywhere as villainous as C.B. his introductory number "Rolling Stock" still counts.
Electra's introduction song, "AC/DC", is another example.
Evil Dead: The Musical has Join Us , a bouncy upbeat song extolling the virtues of submitting to the Evil Dead. Look Who's Evil Now , Bit Part Demon , and Do The Necronomicon are also worth mentioning.
"Forever Yours" from Once On This Island is a bizarre half-love ballad-half-Villain Song, taking on the latter quality after Papa Ge joins in. "Your life is forever miiiiiiiiiiiiiiiiine!" Agwe has "Rain", a song about causing a storm that intentionally results in a near-fatal car crash; immediately before that, the Jerkass Gods sing "And the Gods Heard Her Prayer", in which they concoct their plot to use Ti Moune for their own ends. Asaka and Erzulie get a song each, but theirs aren't villainous (though they are extremely self-congratulatory). Rich Bitch Andrea sings for a bit, too.
"Hector's Song" from The Golden Apple, an oleaginous, Affably Evil soliloquy about how corruptible people are.
The 1980's Broadway musical Drood is notable here in that it has nine possible villain songs: Two which are always in the show ("A Man Could Go Quite Mad" and "Jasper's Confession") and 7 possible murderer confessions decided by audience vote. Some may not count, however, as at least one is a joke about how unlikely that particular character being the murder is.
The Toxic Avenger musical has a few songs for Tromaville's corrupt mayor Babs Belgoody.
"Jersey Girl", where she sings about her plans to become Governor.
She performs "Get the Geek" along with the town bullies Sluggo and Bozo, where she orders them to eliminate Melvin.
"Evil is Hot", where she seduces Professor Zen to get him to tell her how she can kill Toxie.
"Bitch/Slut/Liar/Whore", which also counts as a "The Villain Sucks" Song on Toxie's mother's part.
Spider-Man: Turn Off the Dark has several.
Flash Thompson and his cronies have "Bullying by Numbers" and "Venom".
Before the show was revamped, second-act villain Arachne had two as well; "Think Again" lamenting Peter's decision to give up his Spider-Man identity, and "Deeply Furious" an absurd and much mocked song about shoes.
The Green Goblin gets three. As Norman Osborn he sings "DIY World", about how designer genes are the way of the future. Not blatantly evil, but we know what happens. As the Goblin, he sings "I'll Take Manhattan", a loungey evil song, and a "A Freak Like Me Needs Company" (derived from a recurring line in "Deeply Furious") about his creation of the Sinister Six.
And one more, "Pull the Trigger", from the military group funding Norman's research to create super soldiers.
The main antagonist of Queen's Rock Opera We Will Rock You is called Killer Queen. Naturally she's introduced with the song of the same name. "Flash" might be one for Khashoggi.
Khashoggi's rendition of "Seven Seas Of Rhye" is also highly villainous.
"Special" from Avenue Q might be one since it acts as a Establishing Character Moment for Lucy The Slut who acts as an antagonist towards Kate by trying to steal Princeton from her.
Older Than Feudalism: A significant chunk of Aeschylus' Theatre/Eumenides is the villain song of the Erinyes, where they seek to justify the Revenge they enforce and boast of how terrible and powerful they are, while disdaining the injustice of the Cycle of Revenge that is the plot of the story.
From Sister Act: The Musical, the Big Bad and the Quirky Miniboss Squad both get one. "Lady In The Long Black Dress" is sung by the Miniboss Squad and is about seducing the nuns of the convent. "When I Find My Baby", sung by the Big Bad, is about how he will find Deloris again and "shoot that girl! And then I'll stab that girl, and then I'll take her and shake her, and make her meet her maker!"...
Lord Farquaad gets two in Shrek: The Musical:
"What's Up, Duloc?" is a crowd song about how great he is and how he's rid Duloc of non-human "freaks".
"The Ballad of Farquaad" details his backstory and his supposed Freudian Excuse.
The closest thing to a Villain Song in Sunset Boulevard is the title song, "Sunset Boulevard", which is about Jerkass Protagonist Joe Gillis describing and rationalizing his manipulation of his (much older, much richer, and very emotionally-unstable) girlfriend Norma's feelings in order to have access to her stuff and money. This gets an even darker reprise at the very end of the show, where Joe emotionally abuses the innocent Betty (the literal Betty to Norma's Veronica), whom he had just told he loved two scenes earlier.
The Austrian musical Rudolf – Affaire Mayerling, about the life of Rudolf, Crown Prince of Austria before his suicide, has Count Eduard Taaffe, the Austrian Emperor's closest advisor, sing a very intense song about how politics are easy if you pull the strings behind the curtains and how as advisor to the Emperor, the whole world bends to his will if he demands it. The Aristocrats and even the Emperor dance as his puppets underneath and are shown to listen to his advice. There is also an English Version but the German Version is much faster and far more powerful.
It's a little ironic to listen to the song if you know that later during his ministry, Austria went into WW1 and therefore lost most of their political clout as a nation for a long time.
The Italian work The Bethrothed Lovers Modern Opera: Jesus Christ, where to begin?
First of all, the Ouverture gives us a glimpse of Don Rodrigo's song, "What is this fire?". That's right, the very introduction is interrupted by the villains singing about his evil goal.
The third song, "It has not to be done", features the Thugs (led by the Griso), threatening Don Abbondio, the town priest, saying that it will end bad for him, shoulf he ever marry the titular bethrothed. It's mostly intended as comedic, especially when they mock him, but it is still frightening when you realize that, in a time and place that saw Vatican at its maximal power, Don Rodrigo is not afraid to threaten a man of Church.
The fifth one, "Going... fleeing... the power" starts off with just Don Abbondio establishing once again his lack of guts, but when he goes to sleep... he actually dreams about Don Rodrigo, on top of a skull-decorated spider-web, who nonchalantely plays with a rapier, all while representing the embodiment of the very concepts of power and arrogance. He didn't even appear in the story, yet, and he is already established as a guy not to be messed with. In this particular piece, he sings about how he can walk at his will over people heads, and how he is everything while Don Abbondio is nothing. And now picture such a self-centered bully played by the same guy who played Quasimodo.
The eighth song, "Law is the same for everybody", is one of the funniest and, ironically one of the most evil. In it, the lawman Azzeccagarbugli (lit., Mischief-finder, which in Italy has become a nickname for every corrupted lawperson) sings about how it is his job to use law and justice to help people, while he means his "help" actually is avoiding criminals to pay the price of their crimes. He even accuses Renzo (the lead male character) of being a criminal, for daring to suggest to go against Don Rodrigo.
The eleventh song, "Wine, wine", sees for the first time Don Rodrigo. With all of his friends (other noble bullies), he playfully spars with swords and sings about the joy of drinking fine wine in company on the day of St. Martin. Then he casually mention he will subjugate and tame Lucia, just as a bet with a friend of his, and the song ends with them all gloating about the even bigger joy of having their way with women.
Right after, "There will be a day" is mainly sung by one of the most importants good characters, Fra Cristoforo, and is about how God will not be pleased with that power abuse against the weakest. Then, Don Rodrigo interrupts, insulting Fra Cristoforo and telling him to watch his tongue. Ironically, the truly frightening part of this song comes from Cristoforo himself, who pretty much curses Don Rodrigo, telling him God will annihilate him. And the scary part is... it actually happens.
Then we have "The nigh of Mischieves", in which the main characters try to trick Don Abbondio in marrying Renzo and Lucia. But there is also the Griso, with other thugs, singing in a magnificent barithonal voice of how they are going to kidnap Lucia and how Don Rodrigo will be proud of them for such an act.
Just when we heard five songs about the good guy, and we were starting to lose hope about the amount of villainy, we have "St. Martin has arrived", a reprise of "Wine, wine", really similar but with an even better coreography, with much more swordsmanship and every background character groping at least one maid during the number.
It is immediately followed by the aforementioned "What is this fire". A song so full of pathos and sexual depravity, it could give "Hellfire" and "Your love will kill me" a run for their money. Yeah, you read it right: a song so lustful Frollo seems tame in comparison. Especially creepy when Don Rodrigo sings "Never you will tell me 'stop!', you, who now are saying 'never!'"; he basically says he will continue to rape Lucia until she forces herself to enjoy it. Jesus Christ. And, no, it was not added for this adaptation: even in the original novel, he betted he could have the ius primae noctis, and the only thing added in this version was that here Don Rodrigo actually lusts after Lucia, instead of seeing her just as a bet. It's hardly any better.
"The Griso has returned", which immediately follows, is both yet another reprise of "Wine, wine", and, in the second part, one for the thug's part in "The night of mischievs". Don Rodrigo doesn't want to accept his defeat, and he bets all of his wine he will have Lucia before the end of St.Martin's day. Then The Griso arrives empty-handed, getting properly bitchslapped.
"Let's violate the clausure", just two songs away, starts of as just the hammiest badass boast in the history of musical villainy, with the thugs claiming they will attack the convent and take Lucia. Then, Don Rodrigo cuts their bullshit, and gives a dark reprise to one of Fra Crisotoforo's song, announcing he knows who he has to talk to. Immediately this certain someone is described as almost more a force of nature than a man: the Unnamed.
"The unnamed" is right after that, and it is pretty much a glorification of that guy. He starts by singing about he enjoys life because death itself is his trusted companion, and they are against everybody and everything, not caring about the existence of something as futile as a law or even God Himself. His henchmen (some creepy black-cloaked things), even call him "The black shadow, the fear". Then we see Don Rodrigo, who has alway been arrogant and full of himself, pretty much begging the Unnamed to help him; he responds by saying "that convent has no door, has no gate and has no wall", while his thugs reply "all is open at His will, each and one defense will fall!". The song ends saying that the Unnamed holds a limitless power, which makes him master of every fate, and that he can destroy without a move fear, life and death. Keep in mind that this is a realistic setting, so he has no supernatural power whatsoever: he is just that feared, that ruthless and that competent. Plus, he is played by Vittorio Matteucci, who was Frollo in "Notre-Dame de Paris" and Dracula in "Dracula Opera Rock"; probably, when he cuts himself shaving, he bleeds awesome assholeness.
Immediately after, we have "Let her out": the Kite (the Unnamed's elite mook) has sent Egidio, the lover of Monza's Nun, to convince her to send Lucia out, so that the thugs may abduct her, bring her to the Unnamed, and then give her to Don Rodrigo.
And then, "The Abduction", which is pretty much what the title implies. Monza's Nun tricks Lucia into going out, purposedly playing on her faith and weak will, and her tragic backstory doesn't help us giving her simpathy. But still, the fact that the Nun was brain-washed and forced in the convent by her materialistic nutjob of a father, was then seduced by Egidio who only sees her as a tool of pleasure, and looks like a cross between a S&M slave and a mistress, adds both pathos and incredible creepyness.
"The Lansquenets, the letters". Cannon sounds, blood-red lighting, and an arm of mercenaries marching through Milano, singing a creepy cross between a Church chant, a Nazi parade anthem, and that thing the Uruk-Hai sung in the Bakshi "Lord of the Rings" movie. If anybody studied history, they'll know what exactly the Lansquenets did. If nobody did, don't worry: while they do their war chants, Renzo provides an explanation, saying that they are a scourge devastating the fields, burning the houses, murdering everybody, raping women and bringing the plague, to top all of that; the song itself ends with Renzo repeating "The Plague!", echoed by the Lansquenets in German. All is made especially creepy when you realize that is what Renzo is dictating to be written in a letter to Lucia, to tell her he hopes to make it out alive to see her again.
"The Betrayal", the last villains song, sees Don Rodrigo dying by plague; there is no make-up to simulate the symptons, but Giò di Tonno acually seems febricitant, trembling and ill; plus, he has a vision of what Fra Cristoforo has shown him, and feels he si being crushed by rhe rightful wrath of the Allmighty. He send the Griso to call a doctor, but his thug returns with some jackals, to take him away and steal his fortune. Ironically, the Griso gets infected and dies before he has to change to spend a single coin of what he stole.
The theatrical version of Newsies gives Joseph Pulitzer the song "The Bottom Line", wherein he explains why he's boosting the price of his papers, and how he doesn't care how it'll affect the newsies. He gets a reprise in Act 2, when he threatens to have all the newsies arrested if Jack doesn't tell them to end the strike.
It's A Bird, It's A Plane, It's Superman has the song "Revenge", in which Dr. Abner Sedgwick recounts all the Nobel Prizes he's been robbed of and says he'll destroy Superman to show the scientific community.
The closest thing to a villain in How to Succeed in Business Without Really Trying is Smug Snake Bud Frump, and his reprise of "The Company Way" and Dark Reprise of "Been A Long Day" arguably qualify for this, the former being a self-congratulatory number about how great he is (for being made head of the mailroom) an the latter sung as he puts his Evil Plan into action through blackmailing his uncle.
"The Apple Tree (Forbidden Fruit)" from The Apple Tree. The first act of the musical is based off of Mark Twain's Adam and Eve story. It's sung from The Snake to temp Eve to take a bite from the apple.
Also if you count the King from the second act, he has a short musical piece "Barbara, how could you?" It's only about 10 seconds long. It's his reaction to seeing his daughter in love with a forbidden lover. He also sings a small solo in "Which Door?"
"The Stepsister's Lament" from Rodgers and Hammerstein's Cinderella. Long before they even sing the song, the tune is the stepfamily's theme song and plays during some of their entrances.
"Opportunity" and partially "It can't be true" from 13.
Drood has "A Man Could Go Quite Mad", introducing John Jasper and his repressed insanity. Any of the murderers' confessions could count as well.
The Musical of American Idiot turns the Green Day song "Know Your Enemy" into somewhat of a Villain Song for St. Jimmy, as he attempts to lure Johnny back to his pointlessly rebellious and self-destructive lifestyle, as well as manipulating Johnny into attempting to stab his girlfriend.
The Lady Pirates of Captain Bree has the title song for the title character though she does a Heel–Face Turn later on and "A Lady of Sensibility" for the resident Rich Bitch, both of which double as I Am Songs.
"Spread A Little Sunshine" in Pippin, in which Fastrada plots to get her son closer to the throne while (sarcastically) singing about following the Golden Rule. Actually a subversion: the song's lyrics are entirely innocent, even though the action surrounding it is not.
The Broadway musical version of Matilda has "The Hammer" and "The Smell of Rebellion".
Charlie and the Chocolate Factory uses this trope to an unusual end. The four bratty kids and their parents aren't villains, so their establishing tunes fall under the "I Am" Song trope, though Mike's verses in "It's Teavee Time" overlap with a villain song as he proudly declares that he cheated to get his Golden Ticket. But the show does have a glamorous, Large Ham, Ambiguously Evil Anti-Hero: Willy Wonka. His first song "It Must Be Believed to Be Seen", which doubles as the Act One finale, is a Welcoming Song and an "I Am Great!" Song lyrically, but musically and visually it's this trope — brassy, intense, cheekily sinister, and catchy. There's Spontaneous Choreography for the Golden Ticket winners and the press, the scenery's awash in colorful light by the end...and all along, only the audience suspects/knows that the enthusiastic tour group is going to get a lot more than they bargained for in Act Two.
In Twice Charmed, Wicked Fairy Godfather Franco DiFortunato gets "It's Never Too Late."
It's never too late to plan a wicked plan / Smash both of her shoes and make off with her man!
Most of the songs in Thrill Me are this. Chronologically: "Nothing Like a Fire" is Richard glorying in the warehouse fire he just set, and seducing Nathan; "A Written Contract" is Richard getting Nathan to agree to continue helping with his crimes "no matter what degree" and gloating about their superiority; "The Plan" is Richard excitedly plotting a murder; "Roadster" is Richard luring a twelve-year-old to his death; "Superior" is Richard gloating about being...superior to everyone else; and "Life Plus 99 Years" is Nathan gloating about having strung Richard along through almost all of the show. And really, there are arguments to be made for most of the other songs.
In Pokémon: The Mew-sical, Giovanni gets "To Be Boss" and "Finally," while Team Rocket gets "The Plan." Gary gets several villainous parts as well in different songs.
The villain song from "Tumbleweeds" (a musical written to be performed by students) has the title "It Feels So Good To Be Evil" and consists of the various villains gloating about exactly how much they love being villains.
The Cradle Will Rock has the fake-friendly duet "The Freedom of the Press," in which Mr. Mister demands that Editor Daily print Malicious Slander against The Hero.
The Winx Club musical Winx Power Show gives us "Non c'è Amore" ("There's No Love"), sung by Trix about their intention to destroy the Winx (or fight forever if they fail) and become invincible and the fact there's so much rage inside them that no love can redeem them.
In the children's musical "Oh Jonah!", the people of Niniveh sing "City of Sin", where they revel in lawlessness — in a vague, child-friendly way — and invite Jonah to join them. (At least one church added a banner saying, "NINIVEH: WHAT HAPPENS HERE STAYS HERE.") In the biggest let-down of an otherwise entertaining show, all it takes is "Stop!" to cue a low-key song of repentance.
In Only You Can Save Mankind: The Musical, the Gunnery Officer gets "What Are We Waiting For?" where he not only rebels against the Captain's efforts to make peace with the humans, he seems to be advocating his fellow ScreeWee rebel against everything.
The ice spirit Arktos in Tabaluga und Lilli gets Schlüssel zur Macht (translation: Key to Power).
The musical adaptation of Carrie has quite a few of them. Alpha Bitch Chris Hargensen gets "The World According to Chris" in the revival, in which she sings about her "whip or get whipped" view of the world. She and her boyfriend Billy also have a brief part in "A Night We'll Never Forget", in which they plot to get even with Carrie at the dance. Margaret gets "And Eve Was Weak", where she warns her daughter about the "curse of blood" when she gets her period (this song also serves as a Mood Whiplash from Margaret's sweet, motherly demeanor, and is meant to show just how crazy and serious she could get when snapped). "When There's No One", another solo for Margaret, could also qualify, given the fact that it's the moment she realizes that she must kill Carrie in order to save her from damnation.
The Broadway adaptation of Mary Poppins has "Brimstone and Treacle", sung by the wicked nanny, Miss Andrew (a character adapted from the books rather than the film itself). Showcasing Andrew's sinister disciplinary tactics and use of a horrible medicine, the titular Brimstone and Treacle, the entire song is meant to contrast Mary Poppin's "A Spoonful of Sugar". It even gets a reprise, now sung by Mary as she literally gives Miss Andrew a taste of her own medicine (and, in a surprisingly dark twist, locks her in a giant birdcage and sends it deep below).
The Little Mermaid Broadway musical gives three new songs to Ursula: "I Want the Good Times Back", which details Ursula's plot to get to King Triton (and the throne) through Ariel (it also doubles as an "I Want" Song), "I Want the Good Times Back (Reprise)", in which she anxiously awaits the end of Ariel's contract (and the start of her reign), and a Dark Reprise for "Poor Unfortunate Souls", which she sings when she finally gets her hands on the trident and the throne. Her Evil Minions Flotsam and Jetsam also get some songs, "Sweet Child" (where they persuade Ariel to meet with Ursula) and its reprise (where they mock Ariel's attempts to get Eric to kiss her). As you can see, the musical is heavy with reprises.
The Beauty and the Beast musical introduces a new song, "Maison des Lunes", in which Gaston and LeFou convince Monsieur D'Arque to incarcerate Maurice in his asylum.
Into the Woods has the fairly short but often uncomfortable "Hello Little Girl," sung by The Wolf (who is traditionally also one of the princes). It's not always entirely clear precisely what his designs on Red arenote it's obvious from the lyrics that he intends to eat her, but depending on the production, there may be implications that he's also planning to rape her first, but they're definitely villainous.
The second musical for Black Butler, The Most Beautiful Death In The World, has the song Druitt no Jibun Sanka , or "Druitt's Self-Paean". In it he sings about how great he and his sadism are to two girls who are tied up, referring to himself as a martyr.
Heathers:
The seminal song of the titular Heathers, "Candy Store," is a a dramatic, seductive introduction to the Heathers' Alpha Bitch lifestyle, with each of the three putting down Veronica for still clinging onto her loser best friend Martha Dumptruck and imploring her to dump the poor girl and go along with their cruel prank for her to once and for all prove she's worthy of being a member of the Heathers.
J.D. has quite a few of them that can potentially be taken as villain songs, but the most obvious is "Meant To Be Yours," which completes J.D.'s own descent into murderous, obsessive insanity.
While Heather Chandler and Heather McNamara both get solo songs of their own in the original run, Heather Duke was rather notably left out, being the single major character never to get her own major song. Until the West End run, where Duke gets "Never Shut Up Again" where, with Chandler dead, Duke seizes the power vacuum and vows never to be on the receiving end of a "shut up, Heather!" again.
The West End production also gives Kurt and Ram a proper Villain Song: in the original production, "Blue" was far too lighthearted and comical to serve as a proper villain song and Kurt and Ram are mostly just drunken but harmless jerks. The West End production, in order to avoid it seemed like the musical is downplaying Attempted Rape, swaps out "Blue" with the much more aggressive and assertive "You're Welcome," which cranks Kurt and Ram's vicious, licentious behavior Up to Eleven and throws in a generous dosage of victim-blaming ("If you don't want me starin' why you wearin' that skirt?").
Death Note the Musical has "Where is the Justice?" for Villain Protagonist Light Yagami, in which he preaches to his class about how the world is corrupt, and that justice must be brought to those who deserve it. His second solo, "Hurricane", depicts him finding the Death Note for the first time, and ultimately deciding to use it to purge the world and become a god. Ryuk also gets "Kira!", where he comments on Light's killing spree and his newfound identity as "Kira" labeling him a false idol in some productions.
The stage version of Footloose plays with this. The Anti-Villain main antagonist, Reverend Shaw Moore, gets two songs, but "Heaven Help Me" is more like a "The Villain Sucks" Song directed at himself, while "I Confess" is sung at the very end during his Heel–Face Turn. The straight example is actually "The Girl Gets Around," which is sung by local Hate Sink and Bastard Boyfriend Chuck Cranston as he gloats about how he's using Ariel Moore for cheap sex and loving every minute of it.
Hamilton has You'll Be Back, sung by King George III as an Anti-Love Song about America's attempt to split from Great Britain. As you'd expect, it's deliciously hammy and villainous - the last full line is 'I will kill your friends and family to remind you of my love!' Interestingly, King George gets two more songs after this, and while they're both still villainous, in purpose they're really more of a Greek Chorus commenting on the state of the American government at the time - first, talking about how the Americans underestimate how hard it'll be to rule a country on their own, and then about how shocking it was that Washington stood down and how little faith anyone had in President John Adams ('They will tear each other into pieces / Jesus Christ, this will be fun!').
Wait For It is an Anti-Villain Song, because while it in and of itself isn't villainous in any way (the most egregious thing Burr admits to is sleeping with the wife of a British officer, which had been established only moments before anyway) it does set up a lot of Burr's defining character traits which are later developed in The Room Where it Happens.
James Reynold's letter in Say No To This, and the song as a whole, is likely as truly villainous as the show gets. To have your wife seduce a prominent politician in order to blackmail him is one thing, but it's not like Hamilton's entirely blameless in the entire affair either: the song takes place immediately afterwards Hamilton refuses to accompany his wife, son, and sister-in-law for a summer trip to visit Hamilton's father-in-law, immediately before which Hamilton had been taking part in the historical equivalent of sexting with his sister-in-law.
The Room Where it Happens is a song with Southern banjo and sinister piano to show Burr's transition to a villain and Democrat-Republican from the feeling that he and the other delegates not present at the infamous dinner party are left out of the decision making. The feeling of being left out of the deal caused him to be more ambitious and pursue being a senator.
Washington on Your Side is sort of a quasi example - it's sung by Jefferson, Madison, and Burr, the three primary antagonists of the show, about how they hate Hamilton and are searching for a way to take him down, but it's also clear in the lyrics that they don't see themselves as villains at all. Instead, they all genuinely believe that Hamilton's financial plan will screw over the poor, if not ruin the entire country. The fact that Jefferson seems to have it out for Hamilton personally by this time is mostly beside the point.
Jefferson: Our poorest citizens, our farmers, live ration to ration / As Wall Street robs 'em blind in search of chips to cash in
In The SpongeBob Musical, Plankton has one in the form of "When the Going Gets Tough", a Piss-Take Rap (written by rap artist T.I.) where he persuades the citizens of Bikini Bottom into migrating to a new home after their town is threatened by a destructive volcano. Using their fear to his advantage, he manipulates everyone into believing that the only way to face your problems is by running away from them; this, of course, is just a ploy to get all the citzens together, hypnotize them en masse, and become the supreme ruler of their new town.
The Soldiers Tale has "The Devil's Song," in which the Devil warns that though the Soldier may have won for now, Hell will win the next time they meet. It's a Spoken Word number since there are no singing roles, and also the only time anyone but the Narrator speaks over the music.
The closest The Drowsy Chaperone gets to a villain song is the song Toledo Surprise, in which through the Pastry Chefs threaten to kill Feldzieg through a variety of thinly veiled, pastry-themed double-entendres. This quickly devolves into a dance number featuring the Pastry Chefs and Kitty until the rest of the cast bursts in, revealing that while Adolpho did accidentally seduce the wrong woman, through an unlikely set of circumstances, Feldzieg's villainous plot has come to fruition anyway, as Janet has called off the wedding due to the fact that Robert kissed a "very beautiful" French woman by the name of Mimi (who was secretly Janet taking advantage of Robert's blindfolded rollerblading to test his love for her). Overjoyed, Feldzieg declares that it is a "wonderful, wonderful tragedy" and leads the rest of the cast in a dance number. The ramifications of this (that this is "the saddest day of [their] life") aren't realized until after the song is completed.
Curiously, Feldzieg suffers no ill-effects after this song, despite having revealed that he had ordered Adolpho to seduce Janet to the entire rest of the cast. Neither do the Pastry Chefs, who, before the song begins, had been ready to kill Feldzieg and telling him how they were going to do it in explicit (if thinly veiled) detail. Chalk it up to the cheesy nature of the show-within-a-show.
La Légende du Roi Arthur has no less than three villain songs in the strictest sense of the trope.
"Advienne que pourra", in which Méleagant expresses distaste for Arthur being proclaimed king instead of him.
"Tu vas le payer", in which Morganne sings of the revenge she will take on Arthur for what his father did to their mother
"A nos vouex sacré" where the two team up and decide to mutually destroy Arthur.
Downplayed in Frozen: In addition to "Love is an Open Door",the stage adaptation of Frozen gives Hans his own song "Hans of the Southern Isles". However, like "Love is an Open Door", the song (and its Triumphant Reprise) are sung in the first act, when Hans still appears to be a good guy. An openly villainous reprise for when he betrays Anna was used in the original Denver production, but cut before the production reached Broadway.
Yes Virginia: The Musical has a relatively low-key one (in keeping with a kid's show) where Frank Church espouses his belief that newspapers had a duty to report the negative over the positive.
Mean Girls has "World Burn" for Regina, after she has been kicked out of the Plastics by Cady and decides to destroy Cady by revealing the contents of the Burn Book to the entire school and framing her as the original author.
The Tuck Everlasting musical has three for the Man in the Yellow Suit: "Everything's Golden" and its reprise, in which he gloats about how he'll become a powerful, immortal millionaire after exploiting the spring water of Treegap Wood, and "The Story of the Man in the Yellow Suit", where he confronts the Tucks and holds Winnie hostage until they lead him to the spring. He gets killed right when the song ends.
Naturally, the Beetlejuice musical gives a good amount of songs to the titular Ghost with the Most. His most prominent villain songs include "The Whole 'Being Dead' Thing" (the off-the-wall opening number where he welcomes the audience to his "show about death"), "Say My Name" (his attempt to persuade Lydia into setting him free), and "That Beautiful Sound (Reprise)" (where he conjures up his plot to resurrect himself by marrying Lydia).
The Fantasticks has the eerie, hypnotic "Round and Round " for the sinister bandit-slash-carnival impresario El Gallo, sung as he seduces lead character Luisa, and accompanied by a creepy fantasy sequence showing his henchmen abusing her love interest Matt.
Spamalot has "Run Away" for the French, where they taunt the Knights of the Round Table.
The Teenage Mutant Ninja Turtles: Coming Out of Their Shells Tour has "I Hate Music" from Shredder. Yes, really. Shredder is singing a song about hating music.
Alternative Title(s): Opera, Theater
Villain Song


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After waiting more than an hour and a half for her date, the young lady decided she'd been stood up. Exasperated, she changed from her dinner dress into pajamas and slippers, fixed some popcorn and resigned herself to an evening of TV.
No sooner had she flopped down in front of the TV than her doorbell rang.
He took one look at her and gasped, "I'm two hours late, and you're STILL not ready?"


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