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Florence throws away the lyrics for the chorus and instead goes with some wordless chanting. She’s drunk on love, and she’s emoting it.

One possible reason why this particular snippet is highlighted in one of the Great Gatsby is because the primal moans are both timeless and powerful.

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Bravery doesn’t come with fame; it’s a virtue a celebrity has to earn for themselves, and Florence feels like she doesn’t have it yet.

“Rabbit Heart” is on her first album, so it makes sense that at the time, she lacked confidence.

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Florence has lost her lover in the adoring crowd that has came with her fame. She misses him as a source of comfort.

It can be lonely at the top.

The separation of fame from her lover reappears as a theme in “No Light, No Light” on Ceremonials.

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Florence and her lover are blaspheming by using religion as a tool for their activities together (even though The Song of Songs wasn’t all clean). Thus, selfish prayers. It’s just for themselves.

During their sexual intimacy, the two lovers may be shouting phrases such as “give me more”, and other commonly used phrases during love-making. Because they’re both so involved in seeking their own enjoyment, the prayers are selfish in contrast to the charitable prayers of the saints.

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In the end, what awoke Florence wasn’t a kiss, but instead resentment and revenge toward the one who put her asleep.

Although water isn’t mentioned in this song, “held me under” is one of the many mentions of drowning that appear often in Lungs.

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“Bedroom Hymns” is an extended religious metaphor for sex with Florence comparing her love life to a religious experience. It is a bonus track from Ceremonials (Deluxe Edition).

The song was featured in the second trailer for the film adaptation of The Great Gatsby (2013). Florence + the Machine wrote and recorded “Over The Love” for the soundtrack.
https://www.youtube.com/watch?v=h7AFnJbETLw

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Despite likely going to hell, Florence is okay with that. She has accepted that, and she says it to the heavens, telling from how passionate she proclaims.

As Florence puts it, it’s “a fuck you…to being judged”. She doesn’t even care what the angels and God think of her. Blasphemous? Maybe, but in a world where more and more people are wary about religion, it’s a mindset Florence would emulate. She’s non-religious, after all.

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Miley’s a vocal defender of people’s right to love, kiss, and screw who they want. In a June 2015 interview with Paper Magazine, Miley said:

I am literally open to every single thing that is consenting and doesn’t involve an animal and everyone is of age. Everything that’s legal, I’m down with […] I don’t relate to being boy or girl, and I don’t have to have my partner relate to boy or girl.

In 2015, she started the Happy Hippie Foundation, with the mission “to rally young people to fight injustice facing homeless youth, LGBTQ youth and other vulnerable populations.”

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“We Can’t Stop” was the first single from Miley Cyrus' 2013 album Bangerz, and as such, many people’s first taste of the bolder Miley we now know.

Like her early hit “Party In The USA”, “We Can’t Stop” is about partying and having a good time. Unlike “Party in the USA”, “We Can’t Stop” is a slower, more bittersweet track, with a little language (the only swear word here used is “hell”), a little sex, and a few drug references. (The producer denies the latter.)

Distancing yourself from Disney takes some work, but this is the moment Miley’s due diligence began in earnest. This track is rife with hip-hop references—part of Miley’s move towards an edgier, new sound.

The song peaked at #2 on the Billboard Hot 100.

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“Lover to Lover” is a song from Florence + the Machine’s Ceremonials, reportedly directly inspired by Marvin Gaye and Otis Redding.

Florence stated that she wrote this song thinking of the perspective of an aggressive male soul singer. She claimed to be obsessed by Otis Redding and Sam & Dave, saying that she used to watch a live video from ‘Try A Little Tenderness’ every time before entering the stage.

Shaking off the idea of salvation and kinda embracing this life of sin and touring. It was kind of a more aggressive way to writing for me.

You can listen to this interview for further explanation from Florence herself.

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