#Elton John Lyrics

[magicaplin]

20 favourite queer musicians (19/20)

Elton John - 'Elton's Song'

[redrcs]

And it seems to me that you lived your life

Like a candle in the wind.

Night macro shot of a day lily about to flower

[ofthirtynine]

Goodbye, Norma Jeane, though I never knew you at all.

cellphonehippie’s october prompt list 2023 — day 11: before your time

[kissthebridee]

thank you, genius annotation contributor

[sainztificc]

"So excuse me forgettin' But these things I do You see I've forgotten If they're green or they're blue Anyway, the thing is, what I really mean Yours are the sweetest eyes I've ever seen"

Louis' outro for today's show. Your song by Elton John.

they're fucking with us istg-

[appallinnballin]

hey do you happen to know any songs that suit ruvente (or them individually). or have a playlist. for research purposes. your art of them fucking rules btw i can die in peace

I CAN GIVE YOU THREE OFF THE TOP OF MY HEAD

Analyse - The Cranberries

Wicked Game - Chris Isaak

Down - Stone Temple Pilots

also thabks you so much 🥺🥺!!!!

[musicmakesthemovie]

"What Was I Made For?" A Look into Barbie's Most Tear-jerking and Overplayed Song

[WARNING: Spoilers for Barbie ahead]

If you've been alive and conscious for the last few months, you've at least heard of Barbie if you aren't one of the people who's been decked out in pink to go see what could, arguably, be called the Movie of the Year.

Even if, by some miracle, you haven't seen Barbie, you've probably heard Billie Eilish's song "What Was I Made For", which plays a pivotal, emotional role in the film. And you've probably drawn your own conclusions about the song, whether you're a fan of Billie's or not.

If you know anything about Billie Eilish, you know that she is no stranger to airplay and TikTok fame, and her most played songs tend to be earworms, played repeatedly until you're ready to pull your hair out. We've all been there.

So, it wasn't shocking when a friend, after seeing Barbie, told me how much he despised the song. I mean, he absolutely loathed it. His argument was clear: "It doesn't fit with the movie! 'Don't tell my boyfriend, it's not what he's made for' totally undermines the entire plot!"

Initially, I nodded in agreement. I like Billie's music, but did it really fit with the movie? Like every weekly hyper fixation, this required a deep dive. I researched how Billie Eilish came up with the song and what it meant to her. To my surprise, I found that it resonated beautifully with the Barbie movie. Let's break down the lyrics before delving into the song's musical significance.

"'What was I made for?' is...it's Barbie's voice...it's your voice...it's anybody's voice" - Billie Eilish Jul. 13, 2023 (Interview with Zane Lowe on Apple Music)

The first verses are quite straightforward in their references. "I used to float, now I just fall down" alludes to Barbie's malfunctioning state, a central plot point in the movie. "Looked so alive, turns out I'm not real" reflects Barbie's mental conflict with realizing that she's just a toy; however, it could also be seen to reflect the other struggle Barbie faces: realizing that the real world is not the feminist, women-driven world she thought it was. Even as "Stereotypical Barbie," she senses that something's amiss. For her, it means that everything the other Barbies worked for has been lost. What's her purpose now? What was she made for?

Now, let's address the contentious line: "I'm sad again, don't tell my boyfriend, it's not what he's made for." At first glance, it seems like Barbie is concealing her sadness from her boyfriend as if she needs to put on a facade to shield him from distress. While this is partly true, there's a broader context that some miss. Barbie grapples with depression, a daunting experience for someone who has only known happiness. We've witnessed how it affects Barbie, both physically and mentally. In the film, Barbie lacks someone to confide in about her feelings, especially Ken, who's portrayed as having limited critical thinking skills. Barbie refrains from telling Ken because she understands he either wouldn't grasp it or wouldn't cope with the impact of her emotions. Thus, the song authentically mirrors Barbie's inner struggle to communicate her newfound feelings and her desire to protect others from her experience.

Another criticism my friend raised was that the music wasn't complex enough. The melody was too simple and the harmony was boring, etc. Here's where we delve into the technical side of the song, starting with the harmony or chord progression.

Firstly, Billie's song is originally composed in C major, one of the simplest keys due to its absence of flats or sharps, with a 4/4 time signature, making it rhythmically straightforward. The main progression comprises C-Em-F7, with an Am thrown in on the repeat of "What was I made for?" resulting in C-Em-F7-Am-Em-F7 until the beginning of the chorus, where the Dm and G chords are introduced.

So if we look at it as a numerical chord progression, it would look like this:

(verse) I-iii-IV7-vi-iii-IV7

and (chorus) ii-V-I-iii-IV

The most used chords in pop songs of a major key are I, V, vi, and IV.

So, what's the "iii" chord doing there? It's rarely used in recent pop music. The Beatles featured it in "Here, There And Everywhere," and Elton John in "Mona Lisas And Mad Hatters," but it's uncommon. When we think of common progressions, it's typically I-V-vi-IV.

What's intriguing is that the dominant (V) chord is only used 3 times in the entire piece, with the final one being the very last chord as a Dominant 7th chord, which, in itself, is such a cool choice. The "V" chord naturally gravitates back to the "I" chord, and the addition of the 7th intensifies this desire to return to the home chord, especially since the expectation has been set for it to revert to C major, as it did twice before in the song. Thematically speaking, this choice reflects Barbie's longing for answers and a purpose. The last chord leaves you aching for something more.

Up to this point, we have a harmonic progression that may not be groundbreaking, but it creates compelling tension. So, what about the melody?

Billie's sung melody is quite simple when looked at on its own. All of the notes are diatonic (within the key signature), and the most complex thing is the few leaps between notes that are present. However, when the simple melody combines with the harmony, that's where the magic happens.

The interplay between the melody and harmony is where much of the tension lies. Billie often sings notes that are "unstable" or not part of the chord playing in the harmony, even though the individual notes are diatonic to the key of C major. This adds complexity and tension to the song. When we hear these notes that don't quite harmonize with what's playing underneath, our ears long for something less discomforting, like the warmth and safety of the tonic chord. In this case, that mild discomfort is what gives the song its potency and relevance to the movie as a whole.

If you want to take a deeper dive into the music theory behind the song, I highly encourage this website to get you started!

Q&A: Do you have a song from a film that you feel strongly about, whether you love it or hate it? Share your thoughts and why it resonates with you.

[basicallyjustmuggleremuslupin]

You are what you love,

Not who loves you.

In a world full of the word 'yes'

I'm here to scream 'no'

[music-in-my-veins14]

I'm still standing. Yeah, yeah, yeah I'm still standing. Yeah, yeah, yeah

[bertie987]

“This boy's too young to be singing" - Yellow Brick Road, Elton John

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[thegentlesurvive]

The Albatross, wise men, Elton John, dead poets, and the destruction of reputation

Whenever someone says “Wise men once said,” I feel the need to look up who wrote it first. If Google search results and the absence of it in Bartlet’s Familiar Quotations (fifteenth edition, at least) are to be believed, Taylor is probably the wise men in “The Albatross.” The closest thing I’ve found to “Wild winds are death to the candle,” is “Candle in the Wind” by Bernie Taupin (lyrics) and Elton John (music), originally written about Marilyn Monroe (and in later versions, Princess Diana), who died young after she “lived your life like a candle in the wind […] Your candle burned out long before your legend ever did.”

It is

1) funny that Taylor calls herself a wise man while essentially talking shit about herself from the perspective of her detractors, and

2) interesting to me because, in the warnings, our narrator is being described as the wind, not the candle being burned out. By the end of the song, however, the albatross metaphor is subverted, and the albatross is the hero. If we reverse that first warning, too, it turns the narrator/Taylor back to the candle, at risk of being extinguished by the wind (in “Candle in the Wind,” that is to say, extinguished by the pressures of fame and the way we treat celebrities).

There’s also a loose (undoubtedly unintentional, but fun) connection to some historical tortured poets.

In Elton John: The Making of Goodbye Yellow Brick Road (2001), Bernie Taupin said:

“I think the biggest misconception about ‘Candle In The Wind’ is that I was this rabid Marilyn Monroe fanatic, which really couldn’t be further from the truth. It’s not that I didn’t have a respect for her. It’s just that the song could just as easily have been about James Dean or Jim Morrison, Kurt Cobain. I mean, it could have been about Sylvia Plath or Virginia Woolf. I mean, basically, anybody, any writer, actor, actress, or musician who died young and sort of became this iconic picture of Dorian Gray, that thing where they simply stopped ageing. It’s a beauty frozen in time. In a way, I’m fascinated with that concept. So it’s really about how fame affects the man or woman in the street, that whole adulation thing and the fanaticism of fandom. It’s pretty freaky how people really believe these people are somehow different from us.”

Lyricist Tim Rice added:

“It’s not just the fact that it’s about Marilyn Monroe, because Marilyn died about forty years ago now nearly, yet the song’s still—well obviously it’s got the Diana connotations now—but it’s about all people who were misjudged in their lives. It’s a song about unfairness and the destruction of reputation. And a lot of people, I think, can—even if they haven’t been through that themselves—they can understand it in their heroes.”

[dreamsofalife]

What Kind of Tragedy Are You

written in the stars

It had to end this way. We all know it. Only you were unaware. You had hope. hope, of course, only makes it hurt all the more. We all knew you would look back, oh love, there’s no other version of the story. And yet, alongside you, we still had hope. We believed in you, even though we knew you couldn’t win. And you believed in yourself till the last moment. It isn’t fair, is it? You didn’t know you were doomed.

[oldinterneticons]

and you can tell everybody that this is your song

[kraniumet]

for about a year now, this has consistenly been the third or fourth video that plays if i leave youtube on autoplay after watching any video that isn't by a "big creator". this time it was las vegas 2003 intro -> you belong to the city -> crockett's theme -> lestat the musical: i want more . take me away from here it's so cold.