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SongMeanings is a music website that encourages users to discuss and comment on the underlying meanings and messages of individual songs. [ 1 ] [ 2 ] [ 3 ] As of May 2015, the website contains over 110,000 artists, 1,000,000 lyrics, 14,000 albums, and 530,000 members.
Songfacts is a music-oriented website that has articles about songs, detailing the meaning behind the lyrics, how and when they were recorded, and any other info that can be found. [ 2 ] [ 3 ] [ 4 ]
Reviewers have offered a variety of interpretations of the song's lyrics. A British journalist said that "the puzzle of its lyrics and otherworldly beauty of its sound offering seemingly endless interpretations." [2] Hazlewood's explanation was less definitive than those of some others, saying: "It’s not meant to mean so much.
In her song “Bad Blood,” she sends a vindictive message to an ex-friend who “made a really deep cut.” The song originally debuted on Swift’s 2014 album, “1989.”
A mondegreen (/ ˈ m ɒ n d ɪ ˌ ɡ r iː n / ⓘ) is a mishearing or misinterpretation of a phrase in a way that gives it a new meaning. [1] Mondegreens are most often created by a person listening to a poem or a song; the listener, being unable to hear a lyric clearly, substitutes words that sound similar and make some kind of sense.
This song contains a number of references to places and events in Van Morrison's native Belfast: Cyprus Avenue (also the title of another song on Astral Weeks) is a tree lined, up-market residential street in east Belfast; "throwing pennies at the bridges down below" was a practice of Northern Irish Unionists as they travelled on the train from ...
Instead, it was designed to trick fans into thinking their songs meant more than they actually do." [9] For the 50th-anniversary editions of The Beatles, a music video was created by Alasdair Brotherston and Jock Mooney. [10] The song served as a namesake for the 2022 film Glass Onion: A Knives Out Mystery and is featured in the film's end-credits.
Emmett's lyrics as they were originally intended reflect the hostile mood of many white Americans in the late 1850s towards increasing abolitionist sentiments in the United States. The song presented the point of view, common to minstrelsy at the time, that slavery in the United States was a positive institution overall.