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The song is intended to sound to its Italian audience as if it is sung in English spoken with an American accent; however, the lyrics are deliberately unintelligible gibberish. [8] [9] Andrew Khan, writing in The Guardian, later described the sound as reminiscent of Bob Dylan's output from the 1980s. [9]
"Rome don't be stupid tonight") is a 1962 Italian song composed by Armando Trovajoli (music) and Garinei & Giovannini (lyrics). Originally part of the musical comedy Rugantino , starring Nino Manfredi and Lea Massari , in which it was performed at the end of the first act, it became a classic of Italian and particularly roman music. [ 1 ]
The song has been recorded in a number of versions. The Italian version performed by Fran Jeffries appears in the film, but not on the soundtrack album.An instrumental that resembles the underscore of Jeffries' version is included on the soundtrack album, as is a group vocal with only vaguely related English lyrics (which can be heard in the film during the fancy-dress ball and costume party ...
Folderol, a nonsense refrain in songs, is used in genres as diverse as Christmas songs ("Deck the Halls") and naval songs like "Don't Forget Your Old Shipmate". The European pop genre yé-yé was named after the frequent use of English-derived "Yeah!" as filler. Spanish yeyé signer Massiel won the 1968 Eurovision Song Contest with La, la, la.
"Mambo Italiano" is a popular song written by Bob Merrill in 1954 for the American singer Rosemary Clooney. The song became a hit for Clooney, reaching the top ten on record charts in the US and France and No. 1 on the UK Singles Chart in early 1955. The song has shown enduring popularity, with several cover versions and appearances in numerous ...
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The BBC has edited a YouTube video of a Sabrina Carpenter performance after the singer made an apparent reference to a porn trope. Carpenter, a former Disney Channel star, appeared on BBC Radio 1 ...
After listening to the song's demo, producers and label decided the song deserved a more rich, orchestral arrangement than the lo-fi arrangements of the other songs of the album, and the task was entrusted to Antonio Sinagra, a Naples Conservatory professor who was fresh from the arrangements for Roberto De Simone's musical La Gatta Cenerentola. [2]