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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:
"The Wind That Shakes the Barley" is an Irish ballad written by Robert Dwyer Joyce (1836–1883), a Limerick-born poet and professor of English literature.The song is written from the perspective of a doomed young Wexford rebel who is about to sacrifice his relationship with his loved one and plunge into the cauldron of violence associated with the 1798 rebellion in Ireland. [1]
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 ...
"A New Hope" ends with the song "Kingdom of the Dinosaurs", the hidden track after the end of "Every New Day" features various slip-ups recorded over the tour, and the title itself has a double meaning. [4] The word "Revolting" is used to mean "disgusting", or "starting a revolution". The revolution referred to, however, is one of the heart.
This is a song that could be interpreted in a few ways: It may seem Swift is taking a mental snapshot of a child, wishing that child can hold on to the freeness of their youth before its tainted ...
The lyrics contain very graphic imagery about a terminated foetus and feature a great deal of profanity for the time: the third and final verse begins with a couplet in which the word fuck is repeated five times in rapid succession. The song is mostly about a fan named Pauline, who was (as the song states) from Birmingham. [2]
Samuel Coleridge-Taylor arranged the song as the first movement of his Trio in E minor of 1893. [5] Multiple recordings of the song were made by Paul Robeson, starting in 1926. [6] Mahalia Jackson recorded the song for her album Bless This House in 1956. [7] Bessie Griffin and The Gospel Pearls recorded the song on their Portraits in Bronze ...