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Changed line(s) 114 (click to see context) from:
* Creator/{{Catullus}} demonstrates this trope in [[https://en.wikipedia.org/wiki/Catullus_5 the "Thousand Kisses" poem,]] making it OlderThanSteam.
to:
* Creator/{{Catullus}} demonstrates this trope in [[https://en.wikipedia.org/wiki/Catullus_5 the "Thousand Kisses" poem,]] making it OlderThanSteam.OlderThanFeudalism.
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Note Alphabeticisation.
Changed line(s) 34 (click to see context) from:
* Holli Would from the ''Film/CoolWorld'' takes the stage at a nightclub alongside Frank Sinatra Junior, and starts singing "Let's Make Love" to him. Sinatra was not expecting this, and is both unnerved and delighted by this StatuesqueStunner and her blatant seduction. The only reason Holli didn't get it on with Sinatra then and there is that Holli's alternate form, as cartoon character, started manifesting itself. Or, as Holli put it: "I got all doodly."
to:
* In ''Film/CoolWorld'', Holli Would from the ''Film/CoolWorld'' takes the stage at a nightclub alongside Frank Sinatra Junior, and starts singing "Let's Make Love" to him. Sinatra was not expecting this, and is both unnerved and delighted by this StatuesqueStunner and her blatant seduction. The only reason Holli didn't doesn't get it on with Sinatra then and there is that Holli's alternate form, as a cartoon character, started starts manifesting itself. Or, as Holli put puts it: "I got all doodly."
* "Family Man" from 1982, written by Music/MikeOldfield and performed by Maggie Reilly, has a family man being approached by a seductress. While he recites the chorus as a refusal, it's clear that his resolve is crumbling as she continues to work her wiles on him. The song was later covered by Music/DarylHallAndJohnOates.
Deleted line(s) 110 (click to see context) :
* ''Music/FamilyMan'' from 1982, written by Mike Oldfield and performed by Maggie Reilly, has a family man be approached by a seductress. While he recites the chorus as a refusal, it's clear that his resolve is crumbling as she continues to work her wiles on him. Later covered by Daryl Hall and John Oates.
* Creator/{{Catullus}} demonstrates this trope in [[https://en.wikipedia.org/wiki/Catullus_5 the "Thousand Kisses" poem,]] making it OlderThanSteam.
Deleted line(s) 124 (click to see context) :
* Creator/{{Catullus}} does this in the ''Thousand Kisses'' poem, making this [[older than steam.]]
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Added Film.Cool World vamp Holli Would's "Let's Make Love" cooing to FSJ at the nightclub. Dat girl thirsty.
Added DiffLines:
* Holli Would from the ''Film/CoolWorld'' takes the stage at a nightclub alongside Frank Sinatra Junior, and starts singing "Let's Make Love" to him. Sinatra was not expecting this, and is both unnerved and delighted by this StatuesqueStunner and her blatant seduction. The only reason Holli didn't get it on with Sinatra then and there is that Holli's alternate form, as cartoon character, started manifesting itself. Or, as Holli put it: "I got all doodly."
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None
Changed line(s) 123 (click to see context) from:
* [[Creator/Catullus]] does this in the ''Thousand Kisses'' poem, making this [[older than steam.]]
to:
* [[Creator/Catullus]] Creator/{{Catullus}} does this in the ''Thousand Kisses'' poem, making this [[older than steam.]]
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None
Added DiffLines:
** In ''Film/NeptunesDaughter'', the song is played straight between Creator/RicardoMontalban and Esther Williams, and gender-flipped with Betty Garrett flirting Red Skelton, coaxing him to stay.
Added DiffLines:
** In "I Want You (She's So Heavy)" from ''Music/AbbeyRoad'', for the first half, John serenades Yoko with
-->I want you, I want you so bad, it's driving me mad...
-->I want you, I want you so bad, it's driving me mad...
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None
Changed line(s) 39 (click to see context) from:
* "All For You", by Music/ImeldaMay, is sung from the point of view of a woman who is cheerfully trying to seduce a guy. Perhaps he's been a little slow to take the hint, because she's now spelling it out.
to:
* "All For You", by Music/ImeldaMay, is sung from the point of view of a woman who is cheerfully trying to seduce a guy. Perhaps he's been a little slow to take the hint, hint because she's now spelling it out.
Changed line(s) 85 (click to see context) from:
* Music/TheBeatles wrote "Please Please Me" in the early '60s, when an overly blatant seduction song wouldn't have been allowed on the radio -- but a boyfriend saying ''"Come on (Come on), come on (Come on), Please please me..."'' to his girlfriend is surely importuning ''some kind'' of sexual favours.
to:
* Music/TheBeatles wrote "Please Please Me" in the early '60s, '60s when an overly blatant seduction song wouldn't have been allowed on the radio -- but a boyfriend saying ''"Come on (Come on), come on (Come on), Please please me..."'' to his girlfriend is surely importuning ''some kind'' of sexual favours.
Changed line(s) 120,121 (click to see context) from:
* [[Creator/Catullus]] does this in the ''Thousand Kisses'' poem., making this [[older than steam.]]
to:
Deleted line(s) 126 (click to see context) :
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None
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* [[Creator/Catullus]] does this in the ''Thousand Kisses'' poem., making this [[older than steam.]]
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None
Changed line(s) 47 (click to see context) from:
* “Bad Boyfriend”, by Music/{{Garbage}}, is a song about how AllGirlsWantBadBoys, and doubles as a BadGirlSong, as the singer thinks she’s a good matchfor this bad boy.
to:
* “Bad Boyfriend”, by Music/{{Garbage}}, is a song about how AllGirlsWantBadBoys, and doubles as a BadGirlSong, as the singer thinks she’s a good matchfor match for this bad boy.
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Changed line(s) 125 (click to see context) from:
Theatre/“Be More Chill” has two of these, Upgrade and the more disturbing Do You Wanna Hang?
to:
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Theatre/“Be More Chill” has two of these, Upgrade and the more disturbing Do You Wanna Hang?
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Added Music.Family Man from 1982 by Oldfield and Reilly, later by Hall and Oates.
Changed line(s) 106 (click to see context) from:
to:
* ''Music/FamilyMan'' from 1982, written by Mike Oldfield and performed by Maggie Reilly, has a family man be approached by a seductress. While he recites the chorus as a refusal, it's clear that his resolve is crumbling as she continues to work her wiles on him. Later covered by Daryl Hall and John Oates.
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None
Changed line(s) 25 (click to see context) from:
* Weirdly (or perhaps not), "Show Yourself" in ''Disney/FrozenII'' is actually constructed as a fiercely erotic seduction song.
to:
* Weirdly (or perhaps not), "Show Yourself" in ''Disney/FrozenII'' ''WesternAnimation/FrozenII'' is actually constructed as a fiercely erotic seduction song.
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Changed line(s) 86 (click to see context) from:
* "Set the Controls for the Heart of the Pelvis" by Barry Adamson, with Music/JarvisCocker on vocals, involves a peculiar approach to seduction.
to:
* "Set the Controls for the Heart of the Pelvis" by [[Music/{{Magazine}} Barry Adamson, Adamson]], with Music/JarvisCocker on vocals, involves a peculiar approach to seduction.
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None
Changed line(s) 86 (click to see context) from:
* "Shut Up and Sleep With Me", by Sin With Sebastian. Pretty overt and on the nose.
to:
* "Set the Controls for the Heart of the Pelvis" by Barry Adamson, with Music/JarvisCocker on vocals, involves a peculiar approach to seduction.
-->''Oooohhh, set the controls for the heart of the pelvis\\
Haven't you heard my name rhymes with Elvis\\
And one thing I know is this\\
That your mouth is telling me to give you\\
A big kiss''
* "Shut Up and Sleep With Me", by Sin WithSebastian. Pretty Sebastian, is pretty overt and on the nose.
-->''Oooohhh, set the controls for the heart of the pelvis\\
Haven't you heard my name rhymes with Elvis\\
And one thing I know is this\\
That your mouth is telling me to give you\\
A big kiss''
* "Shut Up and Sleep With Me", by Sin With
Changed line(s) 90 (click to see context) from:
Come on, aha and sleep with me\\''
to:
Come on, aha and sleep with me\\''me''
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None
Added DiffLines:
* “Bad Boyfriend”, by Music/{{Garbage}}, is a song about how AllGirlsWantBadBoys, and doubles as a BadGirlSong, as the singer thinks she’s a good matchfor this bad boy.
-->''So ripe so sweet come suck it and see\\
But watch out daddy I sting like a bee\\
I know some tricks I swear will give you the bends\\
Come on baby be my bad boyfriend''
-->''So ripe so sweet come suck it and see\\
But watch out daddy I sting like a bee\\
I know some tricks I swear will give you the bends\\
Come on baby be my bad boyfriend''
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None
Added DiffLines:
* “Dead Ringer For Love” by Music/MeatLoaf depicts a mutual seduction in a bar. The woman clearly thinks that the man is a bit clueless, but what the hell...
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Alphabeticisation
* "Shut Up and Sleep With Me", by Sin With Sebastian. Pretty overt and on the nose.
-->''Shut up and sleep with me\\
Come on, why don't you sleep with me?\\
Shut up and sleep with me\\
Come on, aha and sleep with me\\''
-->''Shut up and sleep with me\\
Come on, why don't you sleep with me?\\
Shut up and sleep with me\\
Come on, aha and sleep with me\\''
Changed line(s) 89,94 (click to see context) from:
* "Shut Up and Sleep With Me", by Sin With Sebastian. Pretty overt and on the nose.
-->''Shut up and sleep with me\\
Come on, why don't you sleep with me?\\
Shut up and sleep with me\\
Come on, aha and sleep with me\\''
-->''Shut up and sleep with me\\
Come on, why don't you sleep with me?\\
Shut up and sleep with me\\
Come on, aha and sleep with me\\''
to:
-->''Shut up and sleep with me\\
Come on, why don't you sleep with me?\\
Shut up and sleep with me\\
Come on, aha and sleep with me\\''
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None
Added DiffLines:
[[folder:Western Animation]]
* ''WesternAnimation/TheSimpsons'': In "[[Recap/TheSimpsonsS3E20ColonelHomer Colonel Homer]]," Lurleen Lumpkin sings a new song to her manager Homer: "Bunk With Me Tonight." She has to sing the title several times before Homer finally catches on.
[[/folder]]
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None
Added DiffLines:
* "Shut Up and Sleep With Me", by Sin With Sebastian. Pretty overt and on the nose.
-->''Shut up and sleep with me\\
Come on, why don't you sleep with me?\\
Shut up and sleep with me\\
Come on, aha and sleep with me\\''
-->''Shut up and sleep with me\\
Come on, why don't you sleep with me?\\
Shut up and sleep with me\\
Come on, aha and sleep with me\\''
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None
Changed line(s) 93 (click to see context) from:
* "To His Coy Mistress", by Creator/AndrewMarvell, is pretty much the trope codifier for life-is-short philosophical Seduction Lyrics, to the point of getting quite bleak.
to:
* "To His Coy Mistress", by Creator/AndrewMarvell, is pretty much the trope codifier for life-is-short philosophical Seduction Lyrics, to the point of getting quite bleak.bleak -- after all, saying that someone MustNotDieAVirgin is reminding them that they're going to die.
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None
Changed line(s) 93 (click to see context) from:
* "To His Coy Mistress", by Andrew Marvell, is pretty much the trope codifier for life-is-short philosophical Seduction Lyrics, to the point of getting quite bleak.
to:
* "To His Coy Mistress", by Andrew Marvell, Creator/AndrewMarvell, is pretty much the trope codifier for life-is-short philosophical Seduction Lyrics, to the point of getting quite bleak.
Is there an issue? Send a MessageReason:
Alphabeticisation of song titles.
* The Music/{{Halestorm}} song "Do Not Disturb" is about the singer trying to get a stranger ''and his girlfriend'' into having a one night stand with her.
* "Honey I'm Good" by Andy Grammer is an ''[[InvertedTrope inversion]]'' of this trope, the lyrics being about the singer turning down another's advances because he is already involved with someone else.
-->''Naw, Naw, honey I'm good\\
I could have another but I probably shouldn't;\\
Because I've got somebody at home\\
And if I stay I might not leave alone''
-->''Naw, Naw, honey I'm good\\
I could have another but I probably shouldn't;\\
Because I've got somebody at home\\
And if I stay I might not leave alone''
Deleted line(s) 83,88 (click to see context) :
* "Honey I'm Good" by Andy Grammer is an ''[[InvertedTrope inversion]]'' of this trope, the lyrics being about the singer turning down another's advances because he is already involved with someone else.
-->''Naw, Naw, honey I'm good\\
I could have another but I probably shouldn't;\\
because I've got somebody at home\\
and if I stay I might not leave alone''
* The Music/{{Halestorm}} song "Do Not Disturb" is about the singer trying to get a stranger and his girlfriend into having a one night stand with her.
-->''Naw, Naw, honey I'm good\\
I could have another but I probably shouldn't;\\
because I've got somebody at home\\
and if I stay I might not leave alone''
* The Music/{{Halestorm}} song "Do Not Disturb" is about the singer trying to get a stranger and his girlfriend into having a one night stand with her.
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None
Changed line(s) 24 (click to see context) from:
[[folder:Films -- Animated]]
to:
[[folder:Films -- Animated]]Animation]]
Changed line(s) 26,29 (click to see context) from:
-->''Come to me now''\\
''Open your door''\\
''Don't make me wait''\\
''One moment more...''
''Open your door''\\
''Don't make me wait''\\
''One moment more...''
to:
-->''Come to me now''\\
''Opennow\\
Open yourdoor''\\
''Don'tdoor\\
Don't make mewait''\\
''Onewait\\
One moment more...''
''Open
Open your
''Don't
Don't make me
''One
One moment more...''
Changed line(s) 32 (click to see context) from:
[[folder:Films -- Live Action]]
to:
[[folder:Films -- Live Action]]Live-Action]]
Changed line(s) 38,55 (click to see context) from:
[[folder:Opera]]
* Unsurprisingly given that it's all about a legendary seducer, ''Theatre/DonGiovanni'' has a whole load of Seduction Lyrics. Aside from the notorious Don himself, the peasant girl Zerlina gets in on this when working to keep her soon-to-be husband happy and distracted.
[[/folder]]
[[folder:Poetry]]
* Creator/JohnDonne clearly enjoyed getting explicitly seductive in his poems. For example, "To His Mistress Going to Bed" is evidently set after seduction has been largely accomplished (''Licence my roving hands, and let them go, Before, behind, between, above, below...''), but "The Flea" is a sneaky seduction poem that suggests that the poet isn't asking for anything more dishonourable than a flea-bite.
* "To His Coy Mistress", by Andrew Marvell, is pretty much the trope codifier for life-is-short philosophical Seduction Lyrics, to the point of getting quite bleak.
-->''Thy beauty shall no more be found;''\\
''Nor, in thy marble vault, shall sound''\\
''My echoing song; then worms shall try''\\
''That long-preserved virginity,''\\
''And your quaint honour turn to dust,''\\
''And into ashes all my lust;''\\
''The grave's a fine and private place,''\\
''But none, I think, do there embrace.''
[[/folder]]
[[folder:Popular Music]]
* Unsurprisingly given that it's all about a legendary seducer, ''Theatre/DonGiovanni'' has a whole load of Seduction Lyrics. Aside from the notorious Don himself, the peasant girl Zerlina gets in on this when working to keep her soon-to-be husband happy and distracted.
[[/folder]]
[[folder:Poetry]]
* Creator/JohnDonne clearly enjoyed getting explicitly seductive in his poems. For example, "To His Mistress Going to Bed" is evidently set after seduction has been largely accomplished (''Licence my roving hands, and let them go, Before, behind, between, above, below...''), but "The Flea" is a sneaky seduction poem that suggests that the poet isn't asking for anything more dishonourable than a flea-bite.
* "To His Coy Mistress", by Andrew Marvell, is pretty much the trope codifier for life-is-short philosophical Seduction Lyrics, to the point of getting quite bleak.
-->''Thy beauty shall no more be found;''\\
''Nor, in thy marble vault, shall sound''\\
''My echoing song; then worms shall try''\\
''That long-preserved virginity,''\\
''And your quaint honour turn to dust,''\\
''And into ashes all my lust;''\\
''The grave's a fine and private place,''\\
''But none, I think, do there embrace.''
[[/folder]]
[[folder:Popular Music]]
to:
* Unsurprisingly given that it's all about a legendary seducer, ''Theatre/DonGiovanni'' has a whole load of Seduction Lyrics. Aside from the notorious Don himself, the peasant girl Zerlina gets in on this when working to keep her soon-to-be husband happy and distracted.
[[/folder]]
[[folder:Poetry]]
* Creator/JohnDonne clearly enjoyed getting explicitly seductive in his poems. For example, "To His Mistress Going to Bed" is evidently set after seduction has been largely accomplished (''Licence my roving hands, and let them go, Before, behind, between, above, below...''), but "The Flea" is a sneaky seduction poem that suggests that the poet isn't asking for anything more dishonourable than a flea-bite.
* "To His Coy Mistress", by Andrew Marvell, is pretty much the trope codifier for life-is-short philosophical Seduction Lyrics, to the point of getting quite bleak.
-->''Thy beauty shall no more be found;''\\
''Nor, in thy marble vault, shall sound''\\
''My echoing song; then worms shall try''\\
''That long-preserved virginity,''\\
''And your quaint honour turn to dust,''\\
''And into ashes all my lust;''\\
''The grave's a fine and private place,''\\
''But none, I think, do there embrace.''
[[/folder]]
[[folder:Popular Music]]
Changed line(s) 58,62 (click to see context) from:
''It's all for you''\\
''Every hook, every clip every twitch of the zip''\\
''It's all for you''\\
''I'm spelling it out it's not written in code''\\
''I want you so much I think I'm gonna explode...''
''Every hook, every clip every twitch of the zip''\\
''It's all for you''\\
''I'm spelling it out it's not written in code''\\
''I want you so much I think I'm gonna explode...''
to:
''It's all for you''\\
''Everyyou\\
Every hook, every clip every twitch of thezip''\\
''It'szip\\
It's all foryou''\\
''I'myou\\
I'm spelling it out it's not written incode''\\
''Icode\\
I want you so much I think I'm gonna explode...''
''Every
Every hook, every clip every twitch of the
''It's
It's all for
''I'm
I'm spelling it out it's not written in
''I
I want you so much I think I'm gonna explode...''
Changed line(s) 66,68 (click to see context) from:
-->''Don't cha wish your girlfriend was wrong like me?''\\
''Don't cha wish your girlfriend was fun like me?''\\
''Don't cha, don't cha?''
''Don't cha wish your girlfriend was fun like me?''\\
''Don't cha, don't cha?''
to:
-->''Don't cha wish your girlfriend was wrong like me?''\\
''Don'tme?\\
Don't cha wish your girlfriend was fun likeme?''\\
''Don'tme?\\
Don't cha, don't cha?''
''Don't
Don't cha wish your girlfriend was fun like
''Don't
Don't cha, don't cha?''
Changed line(s) 70,73 (click to see context) from:
-->''Think of you with pipe and slippers''\\
''Think of her in Bed''\\
''Laying there just watching telly''\\
''Then think of me instead...''
''Think of her in Bed''\\
''Laying there just watching telly''\\
''Then think of me instead...''
to:
-->''Think of you with pipe and slippers''\\
''Thinkslippers\\
Think of her inBed''\\
''LayingBed\\
Laying there just watchingtelly''\\
''Thentelly\\
Then think of me instead...''
''Think
Think of her in
''Laying
Laying there just watching
''Then
Then think of me instead...''
Changed line(s) 77,80 (click to see context) from:
-->''Lay, lady, lay''\\
''Lay across my big brass bed''\\
''Whatever colors you have in your mind''\\
''I'll show them to you and you'll see them shine...''
''Lay across my big brass bed''\\
''Whatever colors you have in your mind''\\
''I'll show them to you and you'll see them shine...''
to:
-->''Lay, lady, lay''\\
''Laylay\\
Lay across my big brassbed''\\
''Whateverbed\\
Whatever colors you have in yourmind''\\
''I'llmind\\
I'll show them to you and you'll see them shine...''
''Lay
Lay across my big brass
''Whatever
Whatever colors you have in your
''I'll
I'll show them to you and you'll see them shine...''
Changed line(s) 82,85 (click to see context) from:
-->''Let's get it on, ow baby''\\
''Let's get it on, let's love baby''\\
''Let's get it on, sugar''\\
''Let's get it on, woo...''
''Let's get it on, let's love baby''\\
''Let's get it on, sugar''\\
''Let's get it on, woo...''
to:
-->''Let's get it on, ow baby''\\
''Let'sbaby\\
Let's get it on, let's lovebaby''\\
''Let'sbaby\\
Let's get it on,sugar''\\
''Let'ssugar\\
Let's get it on, woo...''
''Let's
Let's get it on, let's love
''Let's
Let's get it on,
''Let's
Let's get it on, woo...''
Changed line(s) 87,88 (click to see context) from:
-->''Let's spend the night together''\\
''Now I need you more than ever...''
''Now I need you more than ever...''
to:
-->''Let's spend the night together''\\
''Nowtogether\\
Now I need you more than ever...''
''Now
Now I need you more than ever...''
Changed line(s) 92,95 (click to see context) from:
-->''Take me I'm yours''\\
''Because dreams are made of this''\\
''Forever there'll be''\\
''A heaven in your kiss''
''Because dreams are made of this''\\
''Forever there'll be''\\
''A heaven in your kiss''
to:
-->''Take me I'm yours''\\
''Becauseyours\\
Because dreams are made ofthis''\\
''Foreverthis\\
Forever there'llbe''\\
''Abe\\
A heaven in your kiss''
''Because
Because dreams are made of
''Forever
Forever there'll
''A
A heaven in your kiss''
Changed line(s) 97,99 (click to see context) from:
-->''Wild thing, I think I love you''\\
''But I wanna know for sure''\\
''So come on and hold me tight...''
''But I wanna know for sure''\\
''So come on and hold me tight...''
to:
-->''Wild thing, I think I love you''\\
''Butyou\\
But I wanna know forsure''\\
''Sosure\\
So come on and hold me tight...''
''But
But I wanna know for
''So
So come on and hold me tight...''
Changed line(s) 101,104 (click to see context) from:
-->''Naw, Naw, honey I'm good''\\
''I could have another but I probably shouldn't;''\\
''because I've got somebody at home''\\
''and if I stay I might not leave alone''
''I could have another but I probably shouldn't;''\\
''because I've got somebody at home''\\
''and if I stay I might not leave alone''
to:
-->''Naw, Naw, honey I'm good''\\
''Igood\\
I could have another but I probablyshouldn't;''\\
''becauseshouldn't;\\
because I've got somebody athome''\\
''andhome\\
and if I stay I might not leave alone''
''I
I could have another but I probably
''because
because I've got somebody at
''and
and if I stay I might not leave alone''
Changed line(s) 108,109 (click to see context) from:
[[folder:Web Original]]
* The song "But Not You" by Naxx Guyfiery and Doge Mayer from the Music/SiIvaGunner "King For Another Day" Tournament is a {{Parody}} with intentionally awful, lecherous lyrics, sung from the point of view of an incompetent, sleazy CasanovaWannabe; ''So come on baby please / Let me give you a squeeze''. "The Ballads of Naxx and Doge", the video in which the song debuted, also opens with Naxx singing a different song in similar style.
* The song "But Not You" by Naxx Guyfiery and Doge Mayer from the Music/SiIvaGunner "King For Another Day" Tournament is a {{Parody}} with intentionally awful, lecherous lyrics, sung from the point of view of an incompetent, sleazy CasanovaWannabe; ''So come on baby please / Let me give you a squeeze''. "The Ballads of Naxx and Doge", the video in which the song debuted, also opens with Naxx singing a different song in similar style.
to:
*
* "To His Coy Mistress", by Andrew Marvell, is pretty much the trope codifier for life-is-short philosophical Seduction Lyrics, to the point of
-->''Thy beauty shall no more be found;\\
Nor, in thy marble vault, shall sound\\
My echoing song; then worms shall try\\
That long-preserved virginity,\\
And your quaint honour turn to dust,\\
And into ashes all my lust;\\
The grave's a
But none, I think, do there embrace.''
Added DiffLines:
[[folder:Theatre]]
* Unsurprisingly given that it's all about a legendary seducer, ''Theatre/DonGiovanni'' has a whole load of Seduction Lyrics. Aside from the notorious Don himself, the peasant girl Zerlina gets in on this when working to keep her soon-to-be husband happy and distracted.
[[/folder]]
[[folder:Web Videos]]
* The song "But Not You" by Naxx Guyfiery and Doge Mayer from the Music/SiIvaGunner "King For Another Day" Tournament is a {{Parody}} with intentionally awful, lecherous lyrics, sung from the point of view of an incompetent, sleazy CasanovaWannabe; ''So come on baby please / Let me give you a squeeze''. "The Ballads of Naxx and Doge", the video in which the song debuted, also opens with Naxx singing a different song in similar style.
[[/folder]]
* Unsurprisingly given that it's all about a legendary seducer, ''Theatre/DonGiovanni'' has a whole load of Seduction Lyrics. Aside from the notorious Don himself, the peasant girl Zerlina gets in on this when working to keep her soon-to-be husband happy and distracted.
[[/folder]]
[[folder:Web Videos]]
* The song "But Not You" by Naxx Guyfiery and Doge Mayer from the Music/SiIvaGunner "King For Another Day" Tournament is a {{Parody}} with intentionally awful, lecherous lyrics, sung from the point of view of an incompetent, sleazy CasanovaWannabe; ''So come on baby please / Let me give you a squeeze''. "The Ballads of Naxx and Doge", the video in which the song debuted, also opens with Naxx singing a different song in similar style.
[[/folder]]
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* The Music/{{Halestorm}} song "Do Not Disturb" is about the singer trying to get a stranger and his girlfriend into having a one night stand with her.
Is there an issue? Send a MessageReason:
None
Changed line(s) 103,104 (click to see context) from:
''Because I've got somebody at home''\\
''and if I stay I might not leave alone''\\
''and if I stay I might not leave alone''\\
to:
''and if I stay I might not leave
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* "Honey I'm Good" by Andy Grammer is an ''[[InvertedTrope inversion]]'' of this trope, the lyrics being about the singer turning down another's advances because he is already involved with someone else.
-->''Naw, Naw, honey I'm good''\\
''I could have another but I probably shouldn't;''\\
''Because I've got somebody at home''\\
''and if I stay I might not leave alone''\\
-->''Naw, Naw, honey I'm good''\\
''I could have another but I probably shouldn't;''\\
''Because I've got somebody at home''\\
''and if I stay I might not leave alone''\\
Is there an issue? Send a MessageReason:
None
Changed line(s) 80 (click to see context) from:
''I'll show them to you and you'll see them shine...''\\
to:
''I'll show them to you and you'll see them shine...''\\''
Is there an issue? Send a MessageReason:
None
Changed line(s) 46 (click to see context) from:
''Nor, in thy marble vault, shall sound''
to:
''Nor, in thy marble vault, shall sound''sound''\\
Is there an issue? Send a MessageReason:
None
Changed line(s) 20,21 (click to see context) from:
-->''Why don't we leave?''
-->''Let's go to my house and we can feel each other up on the couch...''
-->''Let's go to my house and we can feel each other up on the couch...''
to:
-->''Why don't we leave?''
-->''Let'sleave?''\\
''Let's go to my house and we can feel each other up on the couch...''
-->''Let's
''Let's go to my house and we can feel each other up on the couch...''
Changed line(s) 26,29 (click to see context) from:
-->''Come to me now''
-->''Open your door''
-->''Don't make me wait''
-->''One moment more...''
-->''Open your door''
-->''Don't make me wait''
-->''One moment more...''
to:
-->''Come to me now''
-->''Opennow''\\
''Open yourdoor''
-->''Don'tdoor''\\
''Don't make mewait''
-->''Onewait''\\
''One moment more...''
-->''Open
''Open your
-->''Don't
''Don't make me
-->''One
''One moment more...''
Changed line(s) 45,52 (click to see context) from:
-->''Thy beauty shall no more be found;''
-->''Nor, in thy marble vault, shall sound''
-->''My echoing song; then worms shall try''
-->''That long-preserved virginity,''
-->''And your quaint honour turn to dust,''
-->''And into ashes all my lust;''
-->''The grave's a fine and private place,''
-->''But none, I think, do there embrace.''
-->''Nor, in thy marble vault, shall sound''
-->''My echoing song; then worms shall try''
-->''That long-preserved virginity,''
-->''And your quaint honour turn to dust,''
-->''And into ashes all my lust;''
-->''The grave's a fine and private place,''
-->''But none, I think, do there embrace.''
to:
-->''Thy beauty shall no more be found;''
-->''Nor,found;''\\
''Nor, in thy marble vault, shall sound''
-->''My ''My echoing song; then worms shall try''
-->''Thattry''\\
''That long-preservedvirginity,''
-->''Andvirginity,''\\
''And your quaint honour turn todust,''
-->''Anddust,''\\
''And into ashes all mylust;''
-->''Thelust;''\\
''The grave's a fine and privateplace,''
-->''Butplace,''\\
''But none, I think, do there embrace.''
-->''Nor,
''Nor, in thy marble vault, shall sound''
-->''That
''That long-preserved
-->''And
''And your quaint honour turn to
-->''And
''And into ashes all my
-->''The
''The grave's a fine and private
-->''But
''But none, I think, do there embrace.''
Changed line(s) 57,62 (click to see context) from:
-->''When I toss my hair, throw my head in the air''
-->''It's all for you''
-->''Every hook, every clip every twitch of the zip''
-->''It's all for you''
-->''I'm spelling it out it's not written in code''
-->''I want you so much I think I'm gonna explode...''
-->''It's all for you''
-->''Every hook, every clip every twitch of the zip''
-->''It's all for you''
-->''I'm spelling it out it's not written in code''
-->''I want you so much I think I'm gonna explode...''
to:
-->''When I toss my hair, throw my head in the air''
-->''It'sair''\\
''It's all foryou''
-->''Everyyou''\\
''Every hook, every clip every twitch of thezip''
-->''It'szip''\\
''It's all foryou''
-->''I'myou''\\
''I'm spelling it out it's not written incode''
-->''Icode''\\
''I want you so much I think I'm gonna explode...''
-->''It's
''It's all for
-->''Every
''Every hook, every clip every twitch of the
-->''It's
''It's all for
-->''I'm
''I'm spelling it out it's not written in
-->''I
''I want you so much I think I'm gonna explode...''
Changed line(s) 66,68 (click to see context) from:
-->''Don't cha wish your girlfriend was wrong like me?''
-->''Don't cha wish your girlfriend was fun like me?''
-->''Don't cha, don't cha?''
-->''Don't cha wish your girlfriend was fun like me?''
-->''Don't cha, don't cha?''
to:
-->''Don't cha wish your girlfriend was wrong like me?''
-->''Don'tme?''\\
''Don't cha wish your girlfriend was fun likeme?''
-->''Don'tme?''\\
''Don't cha, don't cha?''
-->''Don't
''Don't cha wish your girlfriend was fun like
-->''Don't
''Don't cha, don't cha?''
Changed line(s) 70,73 (click to see context) from:
-->''Think of you with pipe and slippers''
-->''Think of her in Bed''
-->''Laying there just watching telly''
-->''Then think of me instead...''
-->''Think of her in Bed''
-->''Laying there just watching telly''
-->''Then think of me instead...''
to:
-->''Think of you with pipe and slippers''
-->''Thinkslippers''\\
''Think of her inBed''
-->''LayingBed''\\
''Laying there just watchingtelly''
-->''Thentelly''\\
''Then think of me instead...''
-->''Think
''Think of her in
-->''Laying
''Laying there just watching
-->''Then
''Then think of me instead...''
Changed line(s) 77,80 (click to see context) from:
-->''Lay, lady, lay''
-->''Lay across my big brass bed''
-->''Whatever colors you have in your mind''
-->''I'll show them to you and you'll see them shine...''
-->''Lay across my big brass bed''
-->''Whatever colors you have in your mind''
-->''I'll show them to you and you'll see them shine...''
to:
-->''Lay, lady, lay''
-->''Laylay''\\
''Lay across my big brassbed''
-->''Whateverbed''\\
''Whatever colors you have in yourmind''
-->''I'llmind''\\
''I'll show them to you and you'll see them shine...''''\\
-->''Lay
''Lay across my big brass
-->''Whatever
''Whatever colors you have in your
-->''I'll
''I'll show them to you and you'll see them shine...
Changed line(s) 82,85 (click to see context) from:
-->''Let's get it on, ow baby''
-->''Let's get it on, let's love baby''
-->''Let's get it on, sugar''
-->''Let's get it on, woo...''
-->''Let's get it on, let's love baby''
-->''Let's get it on, sugar''
-->''Let's get it on, woo...''
to:
-->''Let's get it on, ow baby''
-->''Let'sbaby''\\
''Let's get it on, let's lovebaby''
-->''Let'sbaby''\\
''Let's get it on,sugar''
-->''Let'ssugar''\\
''Let's get it on, woo...''
-->''Let's
''Let's get it on, let's love
-->''Let's
''Let's get it on,
-->''Let's
''Let's get it on, woo...''
Changed line(s) 87,88 (click to see context) from:
-->''Let's spend the night together''
-->''Now I need you more than ever...''
-->''Now I need you more than ever...''
to:
-->''Let's spend the night together''
-->''Nowtogether''\\
''Now I need you more than ever...''
-->''Now
''Now I need you more than ever...''
Changed line(s) 92,95 (click to see context) from:
-->''Take me I'm yours''
-->''Because dreams are made of this''
-->''Forever there'll be''
-->''A heaven in your kiss''
-->''Because dreams are made of this''
-->''Forever there'll be''
-->''A heaven in your kiss''
to:
-->''Take me I'm yours''
-->''Becauseyours''\\
''Because dreams are made ofthis''
-->''Foreverthis''\\
''Forever there'llbe''
-->''Abe''\\
''A heaven in your kiss''
-->''Because
''Because dreams are made of
-->''Forever
''Forever there'll
-->''A
''A heaven in your kiss''
Changed line(s) 97,99 (click to see context) from:
-->''Wild thing, I think I love you''
-->''But I wanna know for sure''
-->''So come on and hold me tight...''
-->''But I wanna know for sure''
-->''So come on and hold me tight...''
to:
-->''Wild thing, I think I love you''
-->''Butyou''\\
''But I wanna know forsure''
-->''Sosure''\\
''So come on and hold me tight...''
-->''But
''But I wanna know for
-->''So
''So come on and hold me tight...''
Is there an issue? Send a MessageReason:
Created from YKTTW
Added DiffLines:
A Seduction Lyric is, simply, a song or poem in which the singer or first-person figure is attempting to get a potential sexual partner into bed. The means of persuasion used can vary.
Probably the most common is to pitch this as a straightforward love song or love poem, with a strong and more or less explicit implication that the next thing for the lovers to do is to express their affection physically. (Cynics might say that almost all love songs ultimately fit this pattern, as sex is a stage towards which most romantic relationships eventually move -- but the seduction lyric makes the objective explicit and immediate.) Other arguments used include pragmatic hedonism ("You want it, I want it, what are we waiting for?"), emotional blackmail ("I need you so badly that I may ''die'' if you don't put out"), and even bleak philosophy ("Life is short, we'll be a long time dead, let's seize what pleasures we can while we still can"). The seducer may tell the target that, whatever they may have heard elsewhere, sex is not a bad thing, so acting on their evident desires is fine. Or the seducer can just try to exert raw animal sex appeal and hope that the other person loses control.
Needless to say, any given lyric can invoke more than one argument for combined effect, in varying proportions. If the lyric has to be written to get past local MoralGuardians, there may be some strenuous effort involved in GettingCrapPastTheRadar -- the seducer may talk about holding the partner's hand, or kissing them, or dancing with them, leaving the audience to guess that more will follow.
If the dramatic setting or prevailing culture tends towards conventional, conservative sexual morality, then a would-be seducer is by definition a bad person -- a LoveableRogue at best, and probably an outright villain. (If the seducer is trying to get their target away from an existing partner, this too will automatically make them the villain for many people -- though the lyric may offer some kind of justification, probably saying that the current partner is bad for the target.) Hence, this trope has a considerable potential overlap with the VillainLoveSong, which often has seduction as a goal. Also, given such assumptions, if the seducer is female, this can double as a BadGirlSong ("I'm good at being bad and you'll enjoy it"). However, in a context with more relaxed moral norms, the Seduction Lyric may just be a chance for a charming or attractive character to cut loose and show the audience how cool or hot they are. More thoughtful treatments of the trope may double as implied discussions of moral philosophy; is the pursuit of pleasure a good or a bad thing?
Descriptions of a seduction in the third person don't generally qualify here, though if the description includes a lot of quoted seductive speech, the distinction can get fuzzy.
Cynical versions may double as an AntiLoveSong, implying either that romantic love is a delusion which gets in the way of simple pleasure, or that conventional SillyLoveSongs are just hypocritical seduction songs in thin disguise. IntercourseWithYou is of course what follows if the seduction succeeds, so a song may transition between tropes, from Seduction to Intercourse, as it goes along.
----
!!Examples:
[[foldercontrol]]
[[folder:Comedy]]
* "The Most Beautiful Girl (in the Room)", by Music/FlightOfTheConchords, is a hilariously inept seduction song, designed as a {{parody}} of Music/{{Prince}}. As the title suggests, the singer really hasn't got the hang of flattering a girl.
-->''Why don't we leave?''
-->''Let's go to my house and we can feel each other up on the couch...''
[[/folder]]
[[folder:Films -- Animated]]
* Weirdly (or perhaps not), "Show Yourself" in ''Disney/FrozenII'' is actually constructed as a fiercely erotic seduction song.
-->''Come to me now''
-->''Open your door''
-->''Don't make me wait''
-->''One moment more...''
[[/folder]]
[[folder:Films -- Live Action]]
* "Castle in Spain", in ''Film/BabesInToyland'', is a VillainLoveSong in which the villain seeks to seduce a woman with the offer of material goods -- ''"You'll eat nothing but cake / You'll drink naught but champagne / You'll be in on the take / In our castle in Spain"''. Admittedly the villain is supposedly trying to seduce his target into ''marriage'' rather than sex as such, but this is a 1961 Disney movie, and it's easy to see this as a metaphor, especially given the song's last lines: ''"You have caught me today / In a generous vein. / Come now, what do you say? / To our castle in / ahh... ahh... ahh... ahh... Spain."''
* In Film/{{Grease}}, after Sandy adopts BeAWhoreToGetYourMan tactics to catch Danny, "You're The One That I Want" marks the point where she seals the deal.
* There's a lot of indirect or direct seduction all over the place in ''Film/TheRockyHorrorPictureShow'', but special mention has to go to "Touch-a, Touch-a, Touch Me", in which the newly deflowered Janet simply declares her enthusiasm for sex to Rocky -- who, in truth, probably wouldn't understand anything more complicated.
[[/folder]]
[[folder:Opera]]
* Unsurprisingly given that it's all about a legendary seducer, ''Theatre/DonGiovanni'' has a whole load of Seduction Lyrics. Aside from the notorious Don himself, the peasant girl Zerlina gets in on this when working to keep her soon-to-be husband happy and distracted.
[[/folder]]
[[folder:Poetry]]
* Creator/JohnDonne clearly enjoyed getting explicitly seductive in his poems. For example, "To His Mistress Going to Bed" is evidently set after seduction has been largely accomplished (''Licence my roving hands, and let them go, Before, behind, between, above, below...''), but "The Flea" is a sneaky seduction poem that suggests that the poet isn't asking for anything more dishonourable than a flea-bite.
* "To His Coy Mistress", by Andrew Marvell, is pretty much the trope codifier for life-is-short philosophical Seduction Lyrics, to the point of getting quite bleak.
-->''Thy beauty shall no more be found;''
-->''Nor, in thy marble vault, shall sound''
-->''My echoing song; then worms shall try''
-->''That long-preserved virginity,''
-->''And your quaint honour turn to dust,''
-->''And into ashes all my lust;''
-->''The grave's a fine and private place,''
-->''But none, I think, do there embrace.''
[[/folder]]
[[folder:Popular Music]]
* "All For You", by Music/ImeldaMay, is sung from the point of view of a woman who is cheerfully trying to seduce a guy. Perhaps he's been a little slow to take the hint, because she's now spelling it out.
-->''When I toss my hair, throw my head in the air''
-->''It's all for you''
-->''Every hook, every clip every twitch of the zip''
-->''It's all for you''
-->''I'm spelling it out it's not written in code''
-->''I want you so much I think I'm gonna explode...''
* "Baby It's Cold Outside", which has been covered by multiple artists, is a male/female duet in which the man is clearly attempting to seduce the woman. Some recent treatments have sought to make this more of a flirtatious mutual process.
* In "Body And Soul" by Music/ToriAmos, the singer is straightforwardly offering herself to someone who is evidently a good Catholic boy, and very possibly a ''priest,'' arguing that sex isn't as sinful as he's been taught.
* "Don't Cha", by the Music/PussycatDolls (actually a cover of a Tori Alamaze song) is distinctly in the BadGirlSong crossover zone, being a brazen attempt to seduce a guy away from his girlfriend -- though there are hints that the singer accepts that this is a bad idea, and may have to wait for "next lifetime".
-->''Don't cha wish your girlfriend was wrong like me?''
-->''Don't cha wish your girlfriend was fun like me?''
-->''Don't cha, don't cha?''
* "Don't Marry Her", by Music/TheBeautifulSouth, is a completely open, NSFW offer of sex to someone who seems intent on taking a different, less appealing option.
-->''Think of you with pipe and slippers''
-->''Think of her in Bed''
-->''Laying there just watching telly''
-->''Then think of me instead...''
* "Hard to Handle" by Music/OtisRedding is an upfront seduction in which the singer mostly seems to be offering experience and technical competence.
* "Lady Marmalade" (originally performed by Labelle, and famously covered by Music/ChristinaAguilera, Mya, Music/{{Pink}} and Music/LilKim for the ''Film/MoulinRouge'' soundtrack) is widely remembered for its brashly seductive chorus of ''Voulez-vous coucher avec moi (ce soir)?'' (''"Do you want to sleep with me (tonight)?"''), though actually most of the song is a third-party description of a sexual encounter.
* "Lay, Lady, Lay" by Music/BobDylan is at the romantic end of the "Why wait?" class.
-->''Lay, lady, lay''
-->''Lay across my big brass bed''
-->''Whatever colors you have in your mind''
-->''I'll show them to you and you'll see them shine...''
* "Let's Get It On", by Music/MarvinGaye, is hardly a subtle example of the trope in action...
-->''Let's get it on, ow baby''
-->''Let's get it on, let's love baby''
-->''Let's get it on, sugar''
-->''Let's get it on, woo...''
* Music/TheRollingStones gave us "Let's Spend The Night Together", another less-than-subtle instance -- sung by Music/MickJagger, of course...
-->''Let's spend the night together''
-->''Now I need you more than ever...''
* "Only the Good Die Young", by Music/BillyJoel, is a famous example. (''Come out Virginia, Don't make me wait''). Its cynicism about conventional morality (''You Catholic Girls start much too late, But sooner or later it comes down to fate'') made it somewhat controversial when it was first released.
* Music/TheBeatles wrote "Please Please Me" in the early '60s, when an overly blatant seduction song wouldn't have been allowed on the radio -- but a boyfriend saying ''"Come on (Come on), come on (Come on), Please please me..."'' to his girlfriend is surely importuning ''some kind'' of sexual favours.
* Despite the blunt-sounding title, "Take Me I'm Yours" by Music/{{Squeeze}} is actually a metaphorical sort of seduction; the singer has found not only his dream girl, but a whole fantasy world, and offers it and her complete surrender.
-->''Take me I'm yours''
-->''Because dreams are made of this''
-->''Forever there'll be''
-->''A heaven in your kiss''
* "Wild Thing", by the Troggs (later covered by Music/JimiHendrix), makes the "I love you so let's have sex" approach ''hilariously'' blunt.
-->''Wild thing, I think I love you''
-->''But I wanna know for sure''
-->''So come on and hold me tight...''
[[/folder]]
[[folder:Web Original]]
* The song "But Not You" by Naxx Guyfiery and Doge Mayer from the Music/SiIvaGunner "King For Another Day" Tournament is a {{Parody}} with intentionally awful, lecherous lyrics, sung from the point of view of an incompetent, sleazy CasanovaWannabe; ''So come on baby please / Let me give you a squeeze''. "The Ballads of Naxx and Doge", the video in which the song debuted, also opens with Naxx singing a different song in similar style.
[[/folder]]
----
Probably the most common is to pitch this as a straightforward love song or love poem, with a strong and more or less explicit implication that the next thing for the lovers to do is to express their affection physically. (Cynics might say that almost all love songs ultimately fit this pattern, as sex is a stage towards which most romantic relationships eventually move -- but the seduction lyric makes the objective explicit and immediate.) Other arguments used include pragmatic hedonism ("You want it, I want it, what are we waiting for?"), emotional blackmail ("I need you so badly that I may ''die'' if you don't put out"), and even bleak philosophy ("Life is short, we'll be a long time dead, let's seize what pleasures we can while we still can"). The seducer may tell the target that, whatever they may have heard elsewhere, sex is not a bad thing, so acting on their evident desires is fine. Or the seducer can just try to exert raw animal sex appeal and hope that the other person loses control.
Needless to say, any given lyric can invoke more than one argument for combined effect, in varying proportions. If the lyric has to be written to get past local MoralGuardians, there may be some strenuous effort involved in GettingCrapPastTheRadar -- the seducer may talk about holding the partner's hand, or kissing them, or dancing with them, leaving the audience to guess that more will follow.
If the dramatic setting or prevailing culture tends towards conventional, conservative sexual morality, then a would-be seducer is by definition a bad person -- a LoveableRogue at best, and probably an outright villain. (If the seducer is trying to get their target away from an existing partner, this too will automatically make them the villain for many people -- though the lyric may offer some kind of justification, probably saying that the current partner is bad for the target.) Hence, this trope has a considerable potential overlap with the VillainLoveSong, which often has seduction as a goal. Also, given such assumptions, if the seducer is female, this can double as a BadGirlSong ("I'm good at being bad and you'll enjoy it"). However, in a context with more relaxed moral norms, the Seduction Lyric may just be a chance for a charming or attractive character to cut loose and show the audience how cool or hot they are. More thoughtful treatments of the trope may double as implied discussions of moral philosophy; is the pursuit of pleasure a good or a bad thing?
Descriptions of a seduction in the third person don't generally qualify here, though if the description includes a lot of quoted seductive speech, the distinction can get fuzzy.
Cynical versions may double as an AntiLoveSong, implying either that romantic love is a delusion which gets in the way of simple pleasure, or that conventional SillyLoveSongs are just hypocritical seduction songs in thin disguise. IntercourseWithYou is of course what follows if the seduction succeeds, so a song may transition between tropes, from Seduction to Intercourse, as it goes along.
----
!!Examples:
[[foldercontrol]]
[[folder:Comedy]]
* "The Most Beautiful Girl (in the Room)", by Music/FlightOfTheConchords, is a hilariously inept seduction song, designed as a {{parody}} of Music/{{Prince}}. As the title suggests, the singer really hasn't got the hang of flattering a girl.
-->''Why don't we leave?''
-->''Let's go to my house and we can feel each other up on the couch...''
[[/folder]]
[[folder:Films -- Animated]]
* Weirdly (or perhaps not), "Show Yourself" in ''Disney/FrozenII'' is actually constructed as a fiercely erotic seduction song.
-->''Come to me now''
-->''Open your door''
-->''Don't make me wait''
-->''One moment more...''
[[/folder]]
[[folder:Films -- Live Action]]
* "Castle in Spain", in ''Film/BabesInToyland'', is a VillainLoveSong in which the villain seeks to seduce a woman with the offer of material goods -- ''"You'll eat nothing but cake / You'll drink naught but champagne / You'll be in on the take / In our castle in Spain"''. Admittedly the villain is supposedly trying to seduce his target into ''marriage'' rather than sex as such, but this is a 1961 Disney movie, and it's easy to see this as a metaphor, especially given the song's last lines: ''"You have caught me today / In a generous vein. / Come now, what do you say? / To our castle in / ahh... ahh... ahh... ahh... Spain."''
* In Film/{{Grease}}, after Sandy adopts BeAWhoreToGetYourMan tactics to catch Danny, "You're The One That I Want" marks the point where she seals the deal.
* There's a lot of indirect or direct seduction all over the place in ''Film/TheRockyHorrorPictureShow'', but special mention has to go to "Touch-a, Touch-a, Touch Me", in which the newly deflowered Janet simply declares her enthusiasm for sex to Rocky -- who, in truth, probably wouldn't understand anything more complicated.
[[/folder]]
[[folder:Opera]]
* Unsurprisingly given that it's all about a legendary seducer, ''Theatre/DonGiovanni'' has a whole load of Seduction Lyrics. Aside from the notorious Don himself, the peasant girl Zerlina gets in on this when working to keep her soon-to-be husband happy and distracted.
[[/folder]]
[[folder:Poetry]]
* Creator/JohnDonne clearly enjoyed getting explicitly seductive in his poems. For example, "To His Mistress Going to Bed" is evidently set after seduction has been largely accomplished (''Licence my roving hands, and let them go, Before, behind, between, above, below...''), but "The Flea" is a sneaky seduction poem that suggests that the poet isn't asking for anything more dishonourable than a flea-bite.
* "To His Coy Mistress", by Andrew Marvell, is pretty much the trope codifier for life-is-short philosophical Seduction Lyrics, to the point of getting quite bleak.
-->''Thy beauty shall no more be found;''
-->''Nor, in thy marble vault, shall sound''
-->''My echoing song; then worms shall try''
-->''That long-preserved virginity,''
-->''And your quaint honour turn to dust,''
-->''And into ashes all my lust;''
-->''The grave's a fine and private place,''
-->''But none, I think, do there embrace.''
[[/folder]]
[[folder:Popular Music]]
* "All For You", by Music/ImeldaMay, is sung from the point of view of a woman who is cheerfully trying to seduce a guy. Perhaps he's been a little slow to take the hint, because she's now spelling it out.
-->''When I toss my hair, throw my head in the air''
-->''It's all for you''
-->''Every hook, every clip every twitch of the zip''
-->''It's all for you''
-->''I'm spelling it out it's not written in code''
-->''I want you so much I think I'm gonna explode...''
* "Baby It's Cold Outside", which has been covered by multiple artists, is a male/female duet in which the man is clearly attempting to seduce the woman. Some recent treatments have sought to make this more of a flirtatious mutual process.
* In "Body And Soul" by Music/ToriAmos, the singer is straightforwardly offering herself to someone who is evidently a good Catholic boy, and very possibly a ''priest,'' arguing that sex isn't as sinful as he's been taught.
* "Don't Cha", by the Music/PussycatDolls (actually a cover of a Tori Alamaze song) is distinctly in the BadGirlSong crossover zone, being a brazen attempt to seduce a guy away from his girlfriend -- though there are hints that the singer accepts that this is a bad idea, and may have to wait for "next lifetime".
-->''Don't cha wish your girlfriend was wrong like me?''
-->''Don't cha wish your girlfriend was fun like me?''
-->''Don't cha, don't cha?''
* "Don't Marry Her", by Music/TheBeautifulSouth, is a completely open, NSFW offer of sex to someone who seems intent on taking a different, less appealing option.
-->''Think of you with pipe and slippers''
-->''Think of her in Bed''
-->''Laying there just watching telly''
-->''Then think of me instead...''
* "Hard to Handle" by Music/OtisRedding is an upfront seduction in which the singer mostly seems to be offering experience and technical competence.
* "Lady Marmalade" (originally performed by Labelle, and famously covered by Music/ChristinaAguilera, Mya, Music/{{Pink}} and Music/LilKim for the ''Film/MoulinRouge'' soundtrack) is widely remembered for its brashly seductive chorus of ''Voulez-vous coucher avec moi (ce soir)?'' (''"Do you want to sleep with me (tonight)?"''), though actually most of the song is a third-party description of a sexual encounter.
* "Lay, Lady, Lay" by Music/BobDylan is at the romantic end of the "Why wait?" class.
-->''Lay, lady, lay''
-->''Lay across my big brass bed''
-->''Whatever colors you have in your mind''
-->''I'll show them to you and you'll see them shine...''
* "Let's Get It On", by Music/MarvinGaye, is hardly a subtle example of the trope in action...
-->''Let's get it on, ow baby''
-->''Let's get it on, let's love baby''
-->''Let's get it on, sugar''
-->''Let's get it on, woo...''
* Music/TheRollingStones gave us "Let's Spend The Night Together", another less-than-subtle instance -- sung by Music/MickJagger, of course...
-->''Let's spend the night together''
-->''Now I need you more than ever...''
* "Only the Good Die Young", by Music/BillyJoel, is a famous example. (''Come out Virginia, Don't make me wait''). Its cynicism about conventional morality (''You Catholic Girls start much too late, But sooner or later it comes down to fate'') made it somewhat controversial when it was first released.
* Music/TheBeatles wrote "Please Please Me" in the early '60s, when an overly blatant seduction song wouldn't have been allowed on the radio -- but a boyfriend saying ''"Come on (Come on), come on (Come on), Please please me..."'' to his girlfriend is surely importuning ''some kind'' of sexual favours.
* Despite the blunt-sounding title, "Take Me I'm Yours" by Music/{{Squeeze}} is actually a metaphorical sort of seduction; the singer has found not only his dream girl, but a whole fantasy world, and offers it and her complete surrender.
-->''Take me I'm yours''
-->''Because dreams are made of this''
-->''Forever there'll be''
-->''A heaven in your kiss''
* "Wild Thing", by the Troggs (later covered by Music/JimiHendrix), makes the "I love you so let's have sex" approach ''hilariously'' blunt.
-->''Wild thing, I think I love you''
-->''But I wanna know for sure''
-->''So come on and hold me tight...''
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[[folder:Web Original]]
* The song "But Not You" by Naxx Guyfiery and Doge Mayer from the Music/SiIvaGunner "King For Another Day" Tournament is a {{Parody}} with intentionally awful, lecherous lyrics, sung from the point of view of an incompetent, sleazy CasanovaWannabe; ''So come on baby please / Let me give you a squeeze''. "The Ballads of Naxx and Doge", the video in which the song debuted, also opens with Naxx singing a different song in similar style.
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