So this has been.my favorite song of OTEP's since it came out in 2004, and I always thought it was a song about a child's narrative of suffering in an abusive Christian home. But now that I am revisiting the lyrics, I am seeing something totally new.
This song could be gospel of John but from the perspective of Jesus.
Jesus was NOT having a good time up to and during the crucifixion. Everyone in the known world at the time looked to him with fear, admiration or disgust and he was constantly being asked questions. He spoke in "verses, prophesies and curses". He had made an enemy of the state, and believed the world was increasingly wicked and fallen from grace, or that he was in the "mouth of madness".
The spine of atlas is the structure that allows the titan to hold the world up. Jesus challenged the state and in doing so became a celebrated resistance figure. It also made him public enemy #1.
All of this happened simply because he was doing his thing, not because of any agenda he had or strategy.
And then he gets scourged (storm of thorns)
There are some plot holes here but I think it's an interesting interpretation.
Didn't I see you down in San Antone on a hot and dusty night?
We were eating eggs in Sammy's when the black man there drew his knife
Aw, you drowned that Jew in Rampton as he washed his sleeveless shirt
You know, that Spanish-speaking gentlemen the one we all called Kurt
Come now, gentleman, I know there's some mistake
How forgetful I'm becoming now you fixed your business straight
I remember you in Hemlock Road in nineteen fifty-six
You're a faggy little leather boy with a smaller piece of stick
You're a lashing, smashing hunk of man your sweat shines sweet and strong
Your organs working perfectly but there's a part that's not screwed on
Weren't you at the Coke convention back on nineteen sixty-five?
You're the misbred, gray executive I've seen heavily advertised
You're the great, gray man whose daughter licks policemen's buttons clean
You're the man who squats behind the man who works the soft machine
Come now, gentleman your love is all I crave
You'll still be in the circus when I'm laughing, laughing in my grave
When the old men do the fighting and the young men all look on
And the young girls eat their mothers meat from tubes of plasticon
Be wary of these my gentle friends of all the skins you breed
They have a tasty habit they eat the hands that bleed
So remember who you say you are and keep your noses clean
Boys will be boys and play with toys so be strong with your beast
Oh Rosie dear, don'tcha think it's queer so stop me if you please
The baby is dead, my lady said, "You gentlemen, why, you all work for me"
We were eating eggs in Sammy's when the black man there drew his knife
Aw, you drowned that Jew in Rampton as he washed his sleeveless shirt
You know, that Spanish-speaking gentlemen the one we all called Kurt
Come now, gentleman, I know there's some mistake
How forgetful I'm becoming now you fixed your business straight
I remember you in Hemlock Road in nineteen fifty-six
You're a faggy little leather boy with a smaller piece of stick
You're a lashing, smashing hunk of man your sweat shines sweet and strong
Your organs working perfectly but there's a part that's not screwed on
Weren't you at the Coke convention back on nineteen sixty-five?
You're the misbred, gray executive I've seen heavily advertised
You're the great, gray man whose daughter licks policemen's buttons clean
You're the man who squats behind the man who works the soft machine
Come now, gentleman your love is all I crave
You'll still be in the circus when I'm laughing, laughing in my grave
When the old men do the fighting and the young men all look on
And the young girls eat their mothers meat from tubes of plasticon
Be wary of these my gentle friends of all the skins you breed
They have a tasty habit they eat the hands that bleed
So remember who you say you are and keep your noses clean
Boys will be boys and play with toys so be strong with your beast
Oh Rosie dear, don'tcha think it's queer so stop me if you please
The baby is dead, my lady said, "You gentlemen, why, you all work for me"
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Ave Grave
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Love in a Vacuum
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'Til Tuesday
Well, in my opinion this song is about being a young & maybe a little naive &/or introverted girl and finding yourself loving a man who is at first very charming, carefree & outgoing, and seems at first to be without limits, as in
"There was a time
you opened up every doorway
you didn't mind if everything
wasn't your way"
then that man starts to gradually become more introverted & shows their more possessive/obsessive side to you as the relationship progresses, even while they keep up the appearance of being carefree & outgoing to everyone else,
"Don't pull away
that goes against what you told me
I look in your eyes
I realize what you've sold me
is love in a vacuum"
so you confront them about the way they're acting and of course they deny it,
"I think you've changed
but you insist that
that's not true"
quite possibly they are an addict of some sort, my guess would be cocaine, &/or showing very obsessive behavior towards you (early on in the video for this song we see the man hanging a picture up, it is a very large portrait of Aimee & it is prominently displayed in his/their apartment for the duration of the song), thus their "love in a vacuum",
"You look so strange, so distant
that you're hardly you
Now I can see
how you have been acting different
You say it's me
but I know
that it isn't
it's love in a vacuum"
but still you are in love with them and don't want to leave them and you know that they are truly in love with you and they don't want you to leave them either, maybe they are convinced you can save them from themself, maybe they are so broken that the possibility of an overdose &/or suicide attempt is very real and you want to get through to them that their behavior not only dangerous but it is also just pissing you off and if they don't wise up they run the risk of loosing you, as in the lines
"You will be lonely
if you leave me alone", so you want to save them but can't get through to them due to the addiction &/or emotional problems they have,
"Love in a vacuum
and that's not enough
love in a vacuum
You will be lonely
you'll be the only one who feels this way
You will be lonely
if you leave me alone
You will be lonely
you'll be the only one who feels this way
it's just not enough"
you want them to understand that the love they are giving you is not enough when it is filtered through the vacuum of their drug addiction &/or emotional impairment,
"You will be lonely
you'll be the only one who feels this way
it's just not enough
and just wait
you will be lonely
Love in a vacuum
Love in a vacuum
and that's not enough
Love in a vacuum".
'Love In A Vacuum' for me is a hauntingly truthful acute argument on the loneliness of obsession and almost inevitable loss of love that follows people who are broken in some way or another; the obsessives, the coke heads, the drunks, addicts or the just-plain-old emotionally broken; a razor sharp, lyrically driven, deceptively poppy, yet ultimately-depressing-in-the-best-way song.
Quintessential Aimee Mann.
when rules change
Life in Your Way
Life in Your Way
High life
Bron-Y-Aur Stomp
Led Zeppelin
Led Zeppelin
This is about bronies. They communicate by stomping.
Son Şansın - Şarkı Sözleri
Hayalperest
Hayalperest
This song seemingly tackles the methods of deception those who manipulate others use to get victims to follow their demands, as well as diverting attention away from important issues. They'll also use it as a means to convince people to hate or kill others by pretending acts of terrorism were committed by the enemy when the acts themselves were done by the masters of control to promote discrimination and hate. It also reinforces the idea that these manipulative forces operate in various locations, infiltrating everyday life without detection, and propagate any and everywhere.
In general, it highlights the danger of hidden agendas, manipulation, and distraction, serving as a critique of those who exploit chaos and confusion to control and gain power, depicting a cautionary tale against falling into their traps. It encourages us to question the narratives presented to us and remain vigilant against manipulation in various parts of society.
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It was made in 1968, but release was delayed until 1970 by movie execs shocked and concerned about how the public would react to this graphic essay in sex, drugs, rock and roll and violence, Complicating matters, throughout the 1969 US tour, the Stones had become a magnet for the tabloid press culminating in the Altamont speedway incident in December 1969.
There's never really a good time to release a film like Performance. It is a film about identity, what we choose to show, what’s behind the masks we wear and what happens when we lose control. Mick as Turner shows the ways in which it can be exploited in both directions.
(the song video music track, as I understand, features Jagger, Ry Cooder on slide guitar, Russ Titelman (guitar), Randy Newman (piano), Jerry Scheff (bass) and Gene Parsons (drums) The best version of it, in my opinion, appears on the Stones' "London Years" retrospective. It may be one of the most amazing things ever recorded)
We are seeing Turner after he has "traded places" with an underworld mobster. In the context of the film, Turner is an aging rockstar, whose lifestyle was consumed by excess and he is attracted to the idea of playing the part of a mobster, who has far more prosaic reasons to need to disappear into another identity; that of an aging rockstar hermit in hiding from the press. Mick's clean cut, suit-wearing Turner now realizes that the underworld of crime, like politics and show business, is populated with people very much like him, except his awareness of their secret backgrounds and his willingness to use it as a means of control gives him incredible power, out of the reach of anybody who has anything to hide.
Remember, this film was shot in 1968, not long after the release of Sgt Pepper's, and it was that world Mick had in mind. Where at a club like "Sammies", while "eating eggs" one might see underworld figures like the Krays, politicians like Lord Boothby or Tom Driberg, A-list actors, Famous musicians and probably Brian Epstein, rubbing shoulders. Venues like these had recently become "respectable" in London because of the 1967 Sexual Offenses Act, which decriminalized homosexuality. Turner knows all these people intimately. Now he is in charge.
Turner surveys his new cohort, and one by one confronts them with his knowledge of their past. The second stanza refers to Rampton, a psychiatric hospital, where Turner is apparently aware the man in front of him was once a patient who killed a doctor. In those days, the field of psychiatry in England was bigotedly referred by the underclass to as a "Jewish" profession and the reference to "sleeveless shirt" carries double meaning as both a straitjacket and the actual sleeveless shirt worn on sabbath by orthodox observers of the Jewish faith.
"Come now, Gentlemen..." He mocks the straight laced and upstanding members of society they have apparently become. He snarls in to the climactic "set your business STRAIGHT", sarcastically suggesting they have covered their own homosexuality and violent deviance into normal and straight looking executive "skins".
He confronts the smaller sticked man from Hemlock Road, a reference to a rest stop location on the road from London to Oxford notorious for casual encounters. Hemlock Road also doubles for a reference to Socrates, whose refusal to deny his sexual identity led to suicide by Hemlock, and also the historical relationship of academia with homosexuality in a general sense.
Another poster here wrote: "The dominant theme is, of course, one of homosexuality. I think it may be the first time in popular culture where gayness is linked not with effeminacy but with an overt masculine sexuality. For examply the same year that Performance was released The Boys in the Band showed us a selection of campy self-hating drama queens. Also the line "the young girls eat their mother's meat from tubes of plasticon" is the kind of queasily sexual/violent image you'd find in William Burroughs. Also, just remembered that there is indeed a Burrough's book called The Soft Machine. I suppose the song, and the film Performance, were informed at some level by the fact of Reggie Kray's sexuality and the fact that an incredibly masculine (in fact psychotic) man could be gay."
The only think I really can add to that is the theme transcends homosexuality in important ways, in addition to those accurate points. Consider this stanza:
Be wary of these my gentle friends Of all the skins you breed They have a tasty habit They eat the hands that bleed
Turner expresses a total ambivalence as to whatever their deviance does: Sex, Drugs, Violence. He doesn't care, won't judge, and will in fact participate if it's "wrong" enough. Turner will make you take your clothes off and have sex with him just to assert his dominance, and create something that can be used to control you. He tells them "Just make a face and an identity where the need to gratify your urges can't also be your undoing if you are exposed." Ironically, being a rock star, where deviance is in fact expected of a public personality, would be a better cover for these "misbred grey executives."
My main point is that Turner's moral ambivalence goes far beyond any simple "it's about gay" interpretation, and extends to all forms of social identities as somehow being crude coverings for the dark primal secrets we try to keep inside, but are ultimately used to control and exploit us.
After reading the fine comment below by @izertizer I propose the character Rosebloom and the "Rosie" line is perhaps a loose reference to Lewis Rosenstiel, a close associate of J Edgar Hoover and Roy Cohn.
@dblentendr Rosie is not a reference to Rosemary's Baby.<br /> <br /> As Jagger sings song in the film, the camera repeatedly turns to the character played by Stanley Meadows: Rosebloom, who is invariably addressed as "Rosie" by other characters and who is one of the characters with a heavy suggestion of homosexuality.
it's as if queen was singing desolation row on smack. bizarre and great.
Yes, Bob-inspired symbolism is definitely an influence here, as it was in Lennon's "I am the Walrus" and especially "Happiness is a Warm Gun".
best Stones song ever.
There's a different version on the Metamorphosis album with different lyrics.
yeah thats my fav version. both great tho
one of the most mysterious songs by the stones .also one of the best slide guitar songs of all time. Some say it isnt a true rolling stone song because richards didnt play on it but it is very characteristic of the style and tone of the stones at that time.there is about 4 versions of this song all unique and good.I cant deny that there is homoerotic undertones in this song . Nasty ones to . It has a violent and agressive nature to it. the Idea of organized crime and corrupt police . Using sex as a form of agression and control is a common theme of the stones(midnight rambler ,brown sugar) but why are men and not woman subjugated in this song. Maybe this is why its not a radio hit when the stones where spitting out hits every other day at this time.
you guys, this songs good
lol, so good. so heavy. massive commentary
Perhaps Jagger's finest song, but what does it all mean? Looking round the net it seems that for some prayer rituals orthodox Jews wear a religious garment which can be described as a sleevless shirt. The writer goes on to say that describing the man as 'Spanish speaking' is a reference to the Jews' exile from Spain in, I think, the middle ages. Though why he has a German-sounding name like Kurt isn't explained. The dominant theme is, of course, one of homosexuality. I think it may be the first time in popular culture where gayness is linked not with effeminacy but with an overt masculine sexuality. For examply the same year that Performance was released The Boys in the Band showed us a selection of campy self-hating drama queens. Also the line "the young girls eat their mother's meat from tubes of plasticon" is the kind of queasily sexual/violent image you'd find in William Burroughs. Also, just remembered that there is indeed a Burrough's book called The Soft Machine. I suppose the song, and the film Performance, were informed at some level by the fact of Reggie Kray's sexuality and the fact that an incredibly masculine (in fact psychotic) man could be gay.
1968 was MJs Annus Mirabulus. You've made more sense of Memo From T than I did! I always associated the gay references with Orton's diaries, though they were not published until the mid seventies. "Sympathy" with it's reference to Thugee, was written at the same time. <br /> <br /> Spanish gentleman: In the Middle Ages, Edward Longshanks (I think) evicted the Jews from England. While Judaism was still proscribed (the ban wasn't lifted until Cromwell's Commonwealth in the 1650s) in the Elizabethan period Spanish and Dutch Jews, displaced by the Inquisition, (the Marranos) were allowed to covertly settle in England, where they formed an invaluable fifth column to inform English privateers about Spanish gold argosies, and ultimately about the Armada. <br /> <br /> Of course this song was written on the heals of the murder/suicide of Joe Orton by his spurned lover Kenneth Halliwell. Orton, like Reggie Kray, was a switch-hitting practitioner of male-intensive "rough trade" "muscular homosexuality". <br /> <br /> The Kray's of course, were the models for the notorious Piranha Brothers: 'sooch a loverly boy! 'e nailed me 'ead to the wall but then I transgressed the unwritten law I did!" DIMSDALE!
soft machine is supposedly slang for underhanded business<br /> "You're the misbred, gray executive<br /> I've seen heavily advertised<br /> <br /> You're the great, gray man whose daughter licks<br /> Policemen's buttons clean"<br /> <br /> i sense themes of corruption, and collusion of police (gov) and private industry...<br /> <br />
nice interp. i had no clue, my fav line was "Your organs working perfectly, but there's a part that's not screwed on." But shit this song is soo damn UNDERrated
Only a true Stones' fan knows and appreciates this song...it's sad that Keith didn't play on this!! "Glam Rock" before that term ever existed.
Huh???? Nothing makes much sense to me anymore. Like this song, I think I've gone stark raving mad, as I wait for the man I love to show me a sign. Am I crazy? Did you make me this way? What in the hell am I supposed to think and/or do? My brain hurts, my heart has been broken and I'd still go to the abyss for you. I've completely crashed. BOOOOOOOOOOOM. Uncle!
Notice I said TO the abyss. I'd PONDER the abyss. <br /> We'll never know if I would have actually gone INTO the abyss......