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The song's lyrics are an extended narrative that tell the story of Uemura and her grandmother. When she was a 3rd grader (8 years old), she lived at her grandmother's house next door to her parents, playing gomoku , eating nanban-style duck noodle soup when they went out shopping, watching videotapes of the comedy program Yoshimoto Shinkigeki ...
Bobby Freeman released a version of the song as a single in 1965, but it did not chart. [4] Sandy Nelson released a version of the song on his 1966 album "In" Beat. [5] The Olympics released a version of the song on their 1966 album Something Old, Something New. [6] Billy Preston released a version of the song on his 1966 album Wildest Organ in ...
Gary Brolsma, aka "The Numa Numa guy" "1-800-273-8255" – a song by Logic featuring Alessia Cara and Khalid mainly focusing on the topic of suicide and suicide prevention. Its title is a direct reference to the United States National Suicide Prevention Lifeline's phone number, although as of 2022 the Lifeline is known as the 988 Suicide & Crisis Lifeline as its number is now 988.
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"The Duck's Yas-Yas-Ya" is also referenced on Captain Beefheart's album Trout Mask Replica (1969), on the track "Old Fart at Play", in which Beefheart sings, "Momma licked 'er lips like a cat, pecked the ground like a rooster, pivoted like a duck", mentioning all three protagonists from the most famous line of the blues song.
Kamonegikkusu means "Kamo ga negi wo shotte kuru" (lit. a duck comes carrying a green onion on its back) is a Japanese proverb that means a stroke of luck occurs, and things become more and more convenient. According to NMB48 member Sayaka Yamamoto, "The title was a coined word by Yasushi Akimoto". It is a song about a girl who despite being a ...
Teddy Craven of The Daily Campus described "Duckworth" as Damn's "strongest song" and "ends the album with a fantastic philosophical mic-drop." [11] Craven compared the track to "Sing About Me, I'm Dying of Thirst" from Lamar's second studio album Good Kid, M.A.A.D City, a song that also tells personal stories about the unexpected consequences of Lamar's music. [11]
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