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"Revolting Children" is a disco-inspired composition that relies on a lyrical double entendre regarding the word "revolting", which can mean either disgusting or revolutionary. The song also mentions within the lyrics Revolting Rhymes, which is a nod to the Roald Dahl collection of poems with the same name.
The Sherman Brothers, who wrote the Mary Poppins song, have given several conflicting explanations for the word's origin, in one instance claiming to have coined it themselves, based on their memories of having created double-talk words as children. [8] In another instance, they wrote:
A version for children appears on the 1984 Cabbage Patch Kids album "A Cabbage Patch Christmas". Woody Guthrie rewrote the lyrics to the song in 1949 and adapted the song to become “Come When I Call You.” Written about the ravages of war in the aftermath of World War II, the song would go unpublished until the late 90s.
The lyrics express the singer's desire for a woman who he fears may not be only interested in him. [2] The refrain consists of the single line "No words for my love." [2] Music author Vincent Benitez interprets the song's ending on a dominant key rather than the tonic as reflecting the singer's uncertain situation. [2]
By the late 1980s, the "Napalm" cadence had been taught at training to all branches of the United States Armed Forces.Its verses delight in the application of superior US technology that rarely if ever actually hits the enemy: "the [singer] fiendishly narrates in first person one brutal scene after another: barbecued babies, burned orphans, and decapitated peasants in an almost cartoonlike ...
Revolting Rhymes is a 1982 poetry collection by British author Roald Dahl. Originally published under the title Roald Dahl's Revolting Rhymes , it is a parody of traditional folk tales in verse, where Dahl gives a re-interpretation of six well-known fairy tales , featuring surprise endings in place of the traditional happily-ever-after finishes.
Some revolutionary songs intentionally mimic folk (children's) songs to make them palatable in non-political settings. An example of this type of song is a lullaby from Hungary (tentative translation follows), which starts off as a lullaby but shifts into more direct propaganda toward the end: The bunch of little bears happily sleeping
"The Crocodile" – An unnamed father tells his son in bed about Crocky-Wock, a crocodile who eats six children each Saturday, preferably three boys (who he smears with mustard to make them hot) and three girls (who he dips in butterscotch and caramel for a sweet taste). Little did they know that Crocky-Wock is more than just a tale...