This song just hit me — prior to this moment, I thought it was too similar to other songs and too repetitive. When I was listening closer, I heard this really intense self-harmonizing in the chorus I hadn’t noticed before. It’s so obvious, but I think I was too cynical to hear it.
It’s another instance of a negative opinion (of a song — this song) having nothing to do with the actual quality of the song. I’m not saying this happens all the time, but the fact that it CAN happen (music growing on you) has driven me to a place where I feel weird hating/being negative towards music. I might really dig this in five years, or this might’ve been important to me ten years ago — how can I disrespect that very real experience? What if others haven’t heard it yet and I’m already dismissing it?
Our opinions may seem irrelevant, but collectively they influence what actually gets heard. Everything’s a wave and you can choose which waves you’d like to embrace. Which ones are you going to ride on, and are you going to acknowledge the fact that you’re in this bizarre world of waves and it’s easy enough to see how much fun other people are having on other waves?
Is their fun not genuine? Does this not imply that, if given the chance, the wave they are riding has merit?
If one can overlook music, then does that mean some music resonates ‘deeper’ than others? If so, does that mean some music requires ‘more attention’? I put that in quotes because I think whatever it is that prevents people from enjoying something, embracing something, and then enjoying something else — it’s a very conscious thing. You really can choose what you’d like to embrace. The complicated part is that you also seem to have phases where a particular style or sound is PRIME. It’s like, SHOULD YOU LISTEN TO THIS, NOW, AT THIS MOMENT IN YOUR LIFE, you will find that it’s easier to ‘understand’ / ‘pay attention to’.
I’m just trying to verbalize the weird process which is desire, specifically musical desire — its three-part formula of what is natural to you, what is immediately desired and the quality of what’s presented. All three of these aspects can exist in different degrees. For instance, if the quality is so overwhelmingly, universally-amazing(/’potent’), it may not matter that you’re cynical, or that you don’t like the lyrics.
Just as such, if you desire to get into First-Wave Punk Rock, you’re going to likely find yourself listening to that very music. You WANT to listen to X, and when X actually happens, it’s a reminder: You’re in control. Not only that, if X is good, then you know you’re in control AND you’re doing a pretty good job picking the soundtrack.
You can force yourself to like something, and after awhile, you’ll forget your initial intentions. It’s not so much deceiving yourself as it is trying to keep an open-mind, letting all that’s good stick and ignoring all that does not.
The fact that one could ‘increase’ the quality aspect of this formula by simply being a good musician, and that one could ‘increase’ (or decrease) how much ‘attention’ they pay to something, suggests that the third aspect of this formula may also be modified.
How would you increase the likelihood of something being natural? It seems to be largely out-of-control — dependent on your personal background and lifestyle, up to that point. You can change your life, and perhaps, this will change what is natural in your new life — but it’s a gradual process. If this value of non-naturalness is so high, it will not matter if you’re listening to the Magical Mystery Tour LP — even if you’re listening to every detail — it’s too far-removed from your natural environment. The “value of what’s natural” supersedes the fact that it’s “good music” or that you’re paying really close attention.
My theory is that “what’s natural” follows a cyclical path of genres and styles, which elevates in perspective after each cycle. Each path is individualized to every person, but I believe that after enough cycles, you are able to perceive the highest wave of music: which, coincidentally, is what the zeitgeist is jamming to. I theorize that while all the cycles start out from different places, the end-result is the same; if you follow it long enough, you’re able to appreciate just about anything (especially that which is most universally appreciated).
This makes sense, because not only are you naturally-inclined, thanks to your crazy-ass cyclical path of multicultural music, but the music itself is at least average quality. If certain aspects of the formula overwhelm others, then so long as the music is passable, GENUINE inspiration should be possible – one should be able to desire ANY kind of music.
I theorize that if you knew the context of sub-par bedroom music, you might be able to enjoy it, but such a universal knowledge of context is unrealistic, and thus, there’s going to be music impossible to empathize with. Other people DO empathize with this music, even if those “other people” are just the band themselves.
Music only appreciated by one person still conveys a valid, specific perspective. This perspective fits snugly into the cyclical path of taste and desire. The experience of desire-fulfilled is a tangible experience, possible for anyone to undergo – music itself can be the trigger. You cannot invalidate this perspective: to say something is horrible can ultimately diminish the punch of that trigger. Self-aware or not, negativity in matters of subjectivity can only reduce the chances of someone having their own subjective desire, fulfilled.
This can be used as a weapon, but I’d like to think, outside the context of itself, most music sounds amazing. I think that positivity is more potent than negativity. Negativity’s advantage is its immediacy; positivity’s advantage is its longevity/substance. In matters of experience, negativity is about the same as being too busy to really look at something. It’s not WRONG, it’s just irrelevant to those who really looked at the same thing you simply ran past.
May think I’m foolish
They can’t see you
Like I can
Oh but anyone
Who knows what love is
No matter how many times we are warned and shown the horrifying consequences of technology, we, collectively, continue to embrace it. In the context of Black Mirror, “Anyone who knows what love is will understand” describes all the many ways technology can abuse our trust — yet we still love and depend upon it.
You can blame me
Try to shame me
And still I’ll care
You can run around
Even put me down
Still I’ll be there
While the future seems to absorb innocent bystanders at an alarming rate, some protagonists of Black Mirror are more than capable of changing their fates. It is easy to view these characters and plotlines under a harsh spotlight: “If only he hadn’t…If only she had done… It was her own fault… he deserved it…”
I just feel so sorry
For the ones
Who pity me
How many times could have a protagonist within Black Mirror’s world sang these lines, completely literal, standing on the maddening edge of tech-induced delusion? Before the downfall, there is a confidence in following desire to its fullest extreme (no matter the price). If pressed for comment at the height of delirium, these characters, and Irma Thomas, would argue to naysayers:
Oh they don’t know
Love can be
Blame and shame with rationality; torture the populous with “infinity prisons” to extend 24 hours into 1000s of years of confinement — we’ll still keep buying in. Even as it’s happening before our eyes, the latest tech will be repeatedly placed in the hands of people who abuse its power. Even when things go beyond any and all semblance of control, we will still trust in the technology.
Anyone who’s fallen under the hypnotic rapture of the black mirror, will understand. –Andrew JD
I’ve had a little bit too much, much
All of the people start to rush.
Start to rush by.
A dizzy twister dance
Can’t find my drink or man.
Where are my keys? I lost my phone, phone.
This is actually terrifying. This is someone who is on the absolute edge of their life feeling like they are about to lose everything. This is the type of thing you could listen to on a shroom trip while trying to balance yourself. It’s so simplistic but it’s profound in its direct approach.
What’s going on, on the floor?
I love this record, baby, but I can’t see straight anymore.
Keep it cool, what’s the name of this club?
I can’t remember but it’s alright, a-alright.
Absolute loss of everything. Borderline ego death. No I’m not reading too deep into this. This is why this song is so motivational and fun to dance to. There are psychic truths hidden within this song. Someone is about to lose every reference point they’ve ever had — their house, their keys, their car, their clothes, their mind, their location, their vision, their perception. They admit they’ve had too much of life, too much indulgence and now they are paying for it.
But just as it feels like they are going to lose it all, the music reminds them it’s going to be okay. Just dance. It’s going to be okay. You don’t need anything beyond this moment. As long as you are dancing and trusting in the universe’s inherent love, you will be okay:
Just dance. Gonna be okay.
Just dance. Spin that record babe.
Just dance. Gonna be okay.
Dance. Dance. Dance. Just dance.
Even her nonsense lines — she’s humming to herself because it’s literally ALL she has left.
Wish I could shut my playboy mouth.
How’d I turn my shirt inside out, inside out right?
She can’t control her word vomit. She can’t control the nagging self-doubt that bleeds and grinds away at her confidence. It’s moved beyond her mind and is now on display in her actual appearance.
I love music that is aware of just how lucid, brutal and desperate life can become, but still remains optimistic in spite of it. I am so moved right now. It’s a simple song but that’s exactly why it’s so profound. Life requires absurd, sometimes silly metaphors to connect with us. For me, my life has been a hurricane and every line in here connects to something deeper within my life. Where is my home base? Where is my center? Ive had a little bit too much of self-indulgence. I wish I could shut my mouth. I wish I could find my significant other. Where am I? What will I do if all my plans fall apart? Just dance, it’ll be okay.
There’s a reason this was her first single. It’s one of her most profound in the disguise of one of her most vapid.
The quality of this new 2017 remastering moved me to tears: dancing; thinking; reflecting; astral projecting. From the album’s opening to the end of “Getting Better” is intensive feel-good optimism proceeded by intensive introspection (which ultimately climaxes back into dancing anyways (“Within You Without You”). At one point we astral project into the minds of our parents (“She’s Leaving Home”) only to hover over a future image of ourselves, wondering if we’ll always be taken care of (“When I’m Sixty-Four”).
This stereo remaster takes what was already extremely lucid to a downright four-dimensional place. Any fan of the mono originals of each album, such as myself, would be proud to stand beside this hyper-actualized vision that only The Beatles could bring to life. It just feels like hearing their original ideas, as they were inside-their-heads (without any limitations of 1960’s technology).
A large portion of how the band feels about being The Beatles is directly addressed in the finale — “A Day In The Life”. John Lennon reveals that the narrative is not being told based upon first-hand experience — he saw a photograph of a dead man at a traffic light in a stopped car, just as the light had turned green (“He didn’t notice that the lights had changed”). Lennon tells the narrative in such a way that it sounds as if he is living a day in the life of that photograph (only to reveal at the end, that he’s just talking about a photograph).
This is proceeded by another verse where he simply describes wanting to see a film that’s gotten bad reviews (‘the crowds of people turned away’) since he had “read the book”. It’s interesting that on both verses, Lennon’s narrative is based around escapism into another’s perspective — whether the photograph or a film. This escapism is where I feel Sgt. Pepper’s resonates with today’s culture.
“A Day In The Life” blasts off once again into an instrumental crescendo — this time in 2017-remastered-glory, at full volume it’s almost as intense as a DMT trip. Paul McCartney snaps us back with a very literal, day-in-the-life: He wakes up; gets ready; has a smoke and spaces out a bit. Both narratives suggest that there is nothing all that special about the men behind the Beatles moniker — what’s clearly important to both us and them is making something special for to listen to.
The Beatles turn dense sound and vibes into easy-going and carefree sing-alongs. This is in-part due to lyrics like those described above in “A Day In The Life”, but the sentiment is found all throughout the album — there’s a resilient levity which never subsides. They sometimes sing light because the music is heavy — as is the life it was drawn from.
The album title references those who, prior to listening, felt alone in some capacity. Maybe you just needed levity in the background; to break the tension; to kickstart ambition (petty and great). Are you feeling alone? Join the club. Because The Lonely Hearts Club has its own band that performs a world-famous, all-inclusive show — and the Beatles directed the soundtrack. The new remastering feels like it’s happening for the very first time.
Stereo Version available here.
I’ve been on a scary movie binge, but this is one of the most terrifying films I’ve seen. There are clues throughout the film the same way there are deaths throughout a horror movie. As things progress, we’re made aware who is really innocent. In retrospect, how obvious everything is; how plainly it’s presented — it will chill you to the core.
The socialite society is a metaphor for how any power system functions. There are leaders; there are black sheep; there are those whom are respected without being admired — and every single person believes themselves to be on their own path, isolated from the rest of the system. Yet, it’s so obvious where everyone fits and how easily everyone can be placed into a niche.
Newland feels guilt for the entire film and the viewer is led to believe he’s malicious, when in-fact, his desire is the most innocent of all. May is revealed to be the devil incarnate: never missing the bullseye; maliciously gossiping of others; deliberate emotional distance; passive-aggressively telling Newland (moreorless), “Oh, do say hi to Ellen for me.” These are all signs placed within the film, advising both Newland and the viewer just what’s what.
There’s nothing hidden in this world more than how others perceive you, and it’s so easy to manipulate that which is oblivious. May represents evil as a force; their society, the hellish glamor they are all bound to. The “scarlet” room is red for a reason; the manors are isolated fortresses; it always seems to be winter — Newland has no escape. The wedlock scene plays like Newland becoming aware he’s gravely ill: the room spins as all potential life rushes by; he is merely swept along.
The most violent Scorsese film, indeed.
The lyrics can be found here. You can listen to the song below:
“Paranoid Android”, by Radiohead, is a rather straight-forward song about isolation. However, because the song uses abstract imagery and manages to tell two, overlapping narratives with only one set of lyrics, the song is ripe for lyrical analysis. Literally, this is a classic tale of insanity. Figuratively, and the meaning you’re more likely to connect with, “Android” is a requiem for the outcast; for the leftfield perspective.
The notion of wanting to get some rest in a noisy environment is something we all can relate with, but the outcast of “Paranoid Android” is pleading; begging to fall asleep, because his head is filled with “unborn chicken voices”. This can seem confusing until the line is read literally – imagine that there are actually chickens inside this man’s head. “Unborn,” in this context, is a clever way of saying “non-existent”; not actually real. He simply hears noises in his head, and the syncopated call of a chicken is a perfect image to express the chaos of auditory hallucination.
In another sense, these voices in his head are not in his head at all, but actually the sounds of the world around him (with which he feels such disconnect). The outcast cannot view society as a screaming success because his senses are overwhelmed with the literal screaming of the oppressed; the crack of the metaphoric whip, keeping everyone at work (“the crackle of pigskin”); overwhelming gluttony (“the crackle of pigskin” i.e. bacon); the panic of the chased; the vomit from those who witness it all and of course, those too busy making money to care (“the yuppies networking”). The outcast begs it all to stop, because he’s simply trying to get some rest.
As if a nagging reminder to his insanity and his disconnect, the promise of a peaceful sleep is lost; replaced by literal paranoia (“What’s that?”). Already so broken-down, the only way this outcast can cope is to escape to a dreamlike state; to imagine an alternate reality where he is in command, persecuting everyone who has ever wronged him (“When I am King, you will be first against the wall — where your opinion is of no consequence at all”).
Unfortunately, due to what’s been bubbling under the surface, what should be a pleasant daydream turns into a manic episode. Rather playful, optimistic longing is replaced with aggressive force. As if he’s shaking the collar of society itself, he screams, “You don’t remember! You don’t remember my name!” Now, he’s in control and is using his power to get back at his enemies – “Off with his head now; off with his head!!”
Unfortunately, the mania subsides and is replaced with a calming, static depression. He’s back to the real world and his fantasy is just that – a fantasy. The difference is, there’s no going back. Perhaps in the intensity of his manic episode, he has broken a law or two, for now passersby are scorning and ridiculing him for his insanity. “Off with his head now!!” is both a mantra yelled at society and the actual response of society to the outcast’s madness.
A crowd draws and he’s told, “That’s it now — you’re leaving,” but he refuses to give-in; instead fighting back and running away (“the dust and the screaming”). The police presumably catch him, but not before he is beaten (“the crackle of pigskin”), shrieking in terror as the walls of his world cave-in (“the screaming”). All the while, this is taking place in public, with businessmen and women rushing past, far too busy making phone calls to stop and observe (“yuppies networking”).
It is here where Yorke sings with a cruel jest, “God loves his children.” It is here where the literal story of a man going crazy and the casual observations of the modern cynic merge. In the literal narrative, this line is a delusional self-assurance, muttered by the outcast as he’s hauled away. In the figurative narrative, the cynical observer is mocking the idea of “God” with a bitter sarcasm: “God loves his children,” as if to say, why would anyone Godly waste their attention on this hellish world? Regardless atheistic implications, this line is important because it shows how both the outcast and the observer have lost all hope.
In the chaos of literal arrest (or the figurative personal disconnect felt towards society), the outcast gives in. The reason we know the outcast is too tired to fight is because the song starts off with “I’m trying to get some rest,” as if to imply should our protagonist not recover soon, there will be no will to continue. With no hope in sight, the outcast proclaims, “let it all rain down on me — let it pour from a great height, far up in the sky.” As if lithium had entered, intravenously, into his bloodstream, our lonesome friend finds peace (even if in defeat).
As if to justify the abstract nature of this song, we hear a robotic voice chanting, “I may be paranoid, but I’m not an android.” In other words, the outcast might have been seen as eccentric; perhaps even paranoid for no reason, but at least he was feeling something. The beauty of this song is that once you understand the general narrative, all the abstract imagery can be applied to a multitude of concepts, all seen from the observer / the outcast’d perspective. This outcast is holding up a mirror to our world, but before he can even ask if we’re okay with the resultant image, he loses his mind.