Edith piaf - la goualante du pauvre jean / hymne a l' amour

The creation of mondegreens may be driven in part by cognitive dissonance , as the listener finds it psychologically uncomfortable to listen to a song and not make out the words. Steven Connor suggests that mondegreens are the result of the brain's constant attempts to make sense of the world by making assumptions to fill in the gaps when it cannot clearly determine what it is hearing. Connor sees mondegreens as the "wrenchings of nonsense into sense". [a]

Often known as “Edith Piaf’s Last Lament” this salute to all of Edith’s mistakes and misfortunes defines her positive attitude on life. Determined never to perform again in one of her last years, Charles Dumont convinced Edith Piaf to perform one last time through writing this passionate summary of her life. 2 years later Edith Piaf would pass away having “nothing to regret.”

A mondegreen / ˈ m ɒ n d ɪ ɡ r iː n / is a mishearing or misinterpretation of a phrase as a result of near-homophony, in a way that gives it a new meaning.

In 1929, at age 14, she joined her father in his acrobatic street performances all over France, where she first sang in public. [15] At the age of 15, Piaf met Simone "Mômone" Berteaut  ( fr ) , who may have been her half-sister, and who became a companion for most of her life. Together they toured the streets singing and earning money for themselves. With the additional money Piaf earned as part of an acrobatic trio, she and Mômone were able to rent their own place. [1] Piaf later separated from her father and took a room at Grand Hôtel de Clermont (18 rue Véron  ( fr ) , 18th arrondissement of Paris ), working with Mômone as a street singer in Pigalle , Ménilmontant , and the Paris suburbs (cf. the song "Elle fréquentait la rue Pigalle").

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Edith Piaf - La Goualante Du Pauvre Jean / Hymne A L' AmourEdith Piaf - La Goualante Du Pauvre Jean / Hymne A L' AmourEdith Piaf - La Goualante Du Pauvre Jean / Hymne A L' AmourEdith Piaf - La Goualante Du Pauvre Jean / Hymne A L' Amour