What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

“Black Hole Sun” is the 7th track and 3rd single from Soundgarden’s hit 1994 album Superunknown. It is one of their biggest hits, reaching #1 of the US Billboard Mainstream Rock chart and #2 on the Modern Rock chart.

Regarding “Black Hole Sun”, Cornell stated:

It’s just sort of a surreal dreamscape, a weird, play-with-the-title kind of song. Lyrically it’s probably the closest to me just playing with words for words' sake, of anything I’ve written. I guess it worked for a lot of people who heard it, but I have no idea how you’d begin to take that one literally."

In another interview he elaborated further, stating,

It’s funny because hits are usually sort of congruent, sort of an identifiable lyric idea, and that song pretty much had none. The chorus lyric is kind of beautiful and easy to remember. Other than that, I sure didn’t have an understanding of it after I wrote it. I was just sucked in by the music and I was painting a picture with the lyrics. There was no real idea to get across."

Commenting upon how the song was misinterpreted as being positive, Cornell said:

No one seems to get this, but “Black Hole Sun” is sad. But because the melody is really pretty, everyone thinks it’s almost chipper, which is ridiculous."

In a 2014 Rolling Stone interview, Cornell stated, “If you read the lyrics to the verses, it’s sort of surreal, esoteric word painting. It was written very quickly. It was stream of consciousness. I wasn’t trying to say anything specific; I was really writing to the feel of the music and accepting whatever came out.”

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

“Daft Punk is playing at my house — my house!” Murphy exclaimed at the song’s start. Unfortunately, the group never actually performed at Murphy’s pad. His explanation:

I used to play house parties in punk rock bands. You don’t really get paid, but what you do is sell a ton of merchandise, and get a place to sleep. When I got into dancing, taking E and being optimistic, I thought; wouldn’t it be great if some kid wanted Daft Punk to play at his house? So he rings the agent who says they’ll cost $40,000 and he saves for seven years and finally gets enough money and flies Daft Punk over. And, of course, they’d have no idea where they would be landing, ‘cos the rider includes two first-class tickets on Air France. And the kids would be earnestly trying to meet all the rider requirements, but Daft Punk would still end up playing in the basement next to the washing machine, which we all did. A local hardcore band is supporting, and the PA consists of all the local kids’ amps and stereos taped together. I thought that would be like the best show that anyone would ever see.”

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

The fourth track on Nirvana’s debut album Bleach, “School” masterfully infuses simplistic yet all-telling and somewhat indulgent lyrics and a hard hitting riff with an unmistakable intro, one that has become a staple of fans' memories throughout the years.

Cobain himself described the song as representing the Seattle grunge scene parallel to the cliques and ‘featured’ groups at high school. Towards the end of the band’s 1989 Europe tour, he was noted as having to “look out in the audience and all he could see were the kind of people who used to beat him up at school”, which progressively lead to future tracks directed towards this fanbase, the most notable being “In Bloom” on Nevermind.

It was often requested at concerts throughout the band’s entire inception life, and included on home video releases such Live at the Paramount, Live at Reading, and (more recently) Live and Loud, in addition to the twentieth anniversary reissue of Bleach, orchestrated by Geffen, that included the Pine Street Theater live version.

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

The song is about a high school student becoming a janitor at the same high-school he studied at, which most likely sucked for him. “Wouldn’t you believe it it’s just my luck” referred to the chances of becoming janitor at your old high-school. “No recess” referred to the fact that janitors don’t have recess.

This is based on Cobain’s own experiences. In fact right after he dropped out he became a janitor at his high school and saw all his classmates were still there.

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

According to Co-songwriter Jim Vallance:

I remember Bryan and I going back and forth on this line. I suggested “Woody quit and Gordy got married”, like the guys in my high-school band, but Bryan thought “Jimmy” and “Jody” sounded better, and I had to agree.

I’m not sure where Bryan got the name “Jimmy” – we didn’t discuss it at the time – but in a recent interview he said it was a reference to one of his early drummers.

“Jody” is definitely Bryan’s sound-man, Jody Perpik, who got married around the time we were working on the song. Jody and his wife appear in Bryan’s video for “Summer Of ‘69”, driving away with a “Just Married” sign on the back of their car.

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

According to Co-songwriter Jim Vallance:

Bryan’s first band “Shock” played Top-40 songs in Vancouver night clubs … it was 1976 and Bryan was 16. My first band, “The Tremelones”, was formed in 1965 in Vanderhoof with some “guys from school”. I was 13 and the other fellows were a bit older, maybe 16 or 17.

Wayne Deorksen and Gordy Keith played guitar, and I played drums. Gordy’s friend Dave Snell played bass with us for a while. Dave ordered a Silvertone bass guitar and amplifier from the Sears catalogue.

We changed our name to The Fourmost, and my neighbour Chuck Davies joined the band for a while too. Chuck was really old (twenty-one), plus he’d recently travelled to England, so he had instant credibility!

Chuck had an electric guitar with a silver sparkle finish – a marvellous thing to behold – and a Fender amp. None of us could sing very well, so we mostly played instrumentals by The Ventures and The Shadows. “Walk Don’t Run” and “Wipeout” were a couple of our favourites.

Before joining The Tremelones or The Fourmost, I spent most lunch-hours in the school music room with “Woody” Whitmore. Woody is the first musician I ever played with, and I have fond memories of those mid-day “jam sessions”. Lacking a drum kit of my own, I’d pound on the school’s snare drum and cymbal while Woody played his electric guitar through a small amp.

When the music room was occupied, Woody and I would use the school library, which was closed for the lunch hour. But our “rock music” annoyed my Grade 8 French teacher, Mrs. Morrissey, whose classroom was directly across the hallway from the library. In a futile attempt to enlist my parents and shut me down, Mrs. Morrissey put a nasty comment in my report card: “Jim’s mind is never on the job. He can’t just drum his life away”.

It didn’t work. Forty-five years later I still play the drums!

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

According to Adams, who came up with the title, the number 69 is used in reference to sex, and not the year 1969:

“It’s a very simple song about looking back on the summertime and making love. For me, the ‘69 was a metaphor for making love not about the year. I had someone in Spain ask me once why I wrote the first line 'I had my first real sex dream’… I had to laugh.”

However, his co-writer Jim Vallance claims that it has nothing to do with the sex position.

According to Co-songwriter Jim Vallance:

This is where the phrase “summer of ‘69” appears for the first time … quite casually, as line #4 of the first verse. It’s interesting to note: in our first draft of the song, the lyric “summer of '69” appears only once, never to be repeated. It wasn’t the title, it was just another line in the song. In fact, we originally planned on calling the song “Best Days Of My Life”.

One of the last lines of the song “Me and my baby in a 69” supports the sex position statement, as confirmed by Adams himself.

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

According to Co-songwriter Jim Vallance:

When I was growing up in the 1950’s and 60’s there were shops called “Five and Dime” where you could (supposedly) buy anything for five or ten cents, which wasn’t always true. Now they call them “Dollar Stores”!

Neither Bryan or I ever bought a guitar at the “Five and Dime”. I got my first guitar from my parents, Christmas 1965, when I was thirteen. Bryan bought his first guitar at a pawn shop in 1972, age twelve.

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

“Summer of ‘69” is the fourth single from Bryan Adam’s fourth album, Reckless. Written by Adams and Jim Vallance, it was originally titled “Best Days of My Life”. While “Summer of '69” does tell a story of a young man, potentially set in 1969, it was actually written about “making love in the summertime”, hence using the number “69” as a reference to sex.

The song was an international hit, reaching its highest peaks in the Netherlands (#4) and the US (#5), and remains of Adams' most popular songs internationally.

Singer Ryan Adams shared he “had to go into therapy” over the humiliation he’d suffered over several years of people confusing him with Bryan Adams and requesting this song at his concerts. Famously in 2002, a heckler shouted through seven straight songs requesting it, prompting Ryan to hand the man $40 and ask him to leave.

This video is processing – it'll appear automatically when it's done.

What is this?

The Genius annotation is the work of the Genius Editorial project. Our editors and contributors collaborate to create the most interesting and informative explanation of any line of text. It’s also a work in progress, so leave a suggestion if this or any annotation is missing something.

To learn more about participating in the Genius Editorial project, check out the contributor guidelines.

Loading...

Contrary to the opening verse, in this verse the feeling is that the scientists are cooperating in their struggle. They’re racing, but it’s not necessarily against each other. Against time, against danger. The term “side by side” is usually used for allies… in a competition it would be “neck and neck” or “head to head.”

This video is processing – it'll appear automatically when it's done.