| The Pillows – Kono yo no hate made Lyrics | 14 years ago |
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è´ã“ãˆã¦ãã‚‹ã®ã¯ã‚ミã®å£° ãれ以外ã¯ã„らãªããªã£ã¦ãŸ 溢れる涙ã¯ãã®ã¾ã¾ã§ã„ã„ã‚“ã ã‚‚ã—も笑ã‚ã‚Œã¦ã‚‚ è¡Œã“ㆠ昨日ã¾ã§ã®ã‚ミを 苦ã—ã‚ãŸã‚‚ã®å…¨ã¦ ã“ã®ä¸–ã®æžœã¦ã¾ã§ 投ã’æ¨ã¦ã«è¡Œã“ㆠ街ã®ãƒ«ãƒ¼ãƒ«ã«æ±šã•ã‚Œãªã„ 今日も奴らãƒãƒœãƒƒãƒˆã¿ãŸã„ã 無駄ãªæ—¥ãªã‚“ã¦ã‚ã‚Šãˆãªã„ ãã†ã ã‚ã†ã¯ã—ゃã„ã§æ¯ãŒåˆ‡ã‚Œã¦ã‚‚ è¡Œã“ㆠ今空ã«é«˜ã ã“ã®å£°ã¯çªã抜ã‘㦠会ãˆãªã„夜も ã‚ミã«æŒã†ã‚ˆ è¡Œã“ㆠ昨日ã¾ã§ã®äºŒäººã‚’ 苦ã—ã‚ãŸã‚‚ã®å…¨ã¦ ã“ã®ä¸–ã®æžœã¦ã¾ã§ 投ã’æ¨ã¦ã«è¡Œã“ㆠè´ã“ãˆã¦ãã‚‹ã®ã¯ã‚ミã®å£° ãれ以外ã¯ã„らãªããªã£ã¦ãŸ My Baby è¡Œã“ㆠKikoetekuru no ha kimi no koe Sore igai ha iranakunatteta Afureru namida ha sono mama de ii n da Moshimo warawarete mo Ikou Kinou made no kimi o Kurushimeta mono subete Kono yo no hate made Nagesute ni ikou Machi no rule ni yogosarenai Kyou mo yatsura robot mitai da Muda na hi nante arienai Sou darou hashaide iki ga kirete mo Ikou Ima sora ni takaku Kono koe ha tsukinukete Aenai yoru mo Kimi ni utau yo Ikou Kinou made no futari o Kurushimeta mono subete Kono yo no hate made Nagesute ni ikou Kikoetekuru no ha kimi no koe Sore igai ha iranakunatteta My babe Ikou |
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| Red Hot Chili Peppers – Savior Lyrics | 20 years ago |
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Everyone is fallible, naturally including heroes and other icons; but when you have a hero, there's almost always some expectation that this person be something 'more' or somehow 'perfect', and it almost makes any little negative thing that person does seem much more grandiose than it probably is. In other words, icons tend to be judged either a) harder and/or b) more often, and there's a certain need to reconcile negative things a hero does in order that they can maintain their status in your eyes (assuming you Really look up to this person). But when I hear this song, it always makes me think that the narrator is making the important realization that his 'savior' is just a guy, just an ordinary man, who can screw up even though he looks up to him; and that's okay, because everyone screws up a little, people are pretty damn far from perfect. And in the end, just like any other man, as long as this hero still does right - or at least, doesn't anything more wrong than the rest of us - than it'll be okay in the end. Besides, realizing that these icons and heroes are human is rather uplifting in a way: sure, they're just bums like everyone else, but they're doing something extraordinary, and maybe you can too (this is reinforced somewhat by the 'butterfly that flaps it's wings': just a little, frail butterfly that can still make such a big difference). While I realize this sounds very, very simple, maybe even trite, that's the first feeling I got from the song when I first heard it, and the one that's always stayed with me. As a note on the amusingly persistent Jesus issue, regardless of whether the writer is a Christian or not (I personally am not, and from what I've read on this forum, apparently neither is Kiedis), the fact remains that Jesus is a very common, recognizable cultural icon, and something of a mythological figure even in a secular sense. Much as Romeo and Juliet are the archetypical lovers, Jesus is something of the archetypical savior and idol. It's natural to think that many would find some connection here (regardless of your feelings toward it, Christianity does have some of the catchiest imagery, and symbols in the religion business, and certainly the most press) and I can't say I find anything that makes me think it couldn't actually be about him. Still, in the end though, I think this song is more about the idea of heroes and how they're perceived than about any particular hero/savior. |
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| The Smashing Pumpkins – X.Y.U. Lyrics | 20 years ago |
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This song is, I think, a narrative, told in the first person, about an abusive relationship getting worse, and worse, and worse. According to the narrator, Mary is vulnerable, and after all, 'I was lonely...and it was just a game'...to him, Mary is just meat. He beats her up, begins to stalk her down...and to him, it's still always 'just a game', always justifiable a hundred ways, because in his mind, he is always the victim of something, he Owns her, he has the power, 'she will never learn' and Nothing should ever - or will ever - take her away. But, whether she was aware of it all the time or not, by the mid-point, Mary knows the score. She knows she's with someone dangerous. And when Mary gets pregnant...well, 'Mary has her ghost' sums it up rather well. Whether he found out, or whether he never knew, the fact he's still around, still increasingly violent, on top of which she's just either lost or killed her unborn child, and she still can't get away... It's interesting to note that in the whole song we never directly hear Mary's point of view, perhaps because in the narrators eyes Mary either doesn't or shouldn't have a point of view. The ending is especially interesting because of it's ambiguity. In the album, just after his final rampage where he says 'she will never learn', 'STOP' is screamed, assuradely by Mary. But the last lines are 'Bye Bye baby...'. Taken one way, the narrator finally does Mary in; either kills her, or perhaps (just as bad) simply f's her up one last horrible time before throwing her away. On the other hand, maybe Mary finally does do what she never could the rest of the song: leaves him. I personally beleive that Mary does finally escape, at least in the moment, but one gets the feeling that, if that's the case, then this isn't all the story. Because as the narrator says, she's his 'one and only', she's 'all mine'...and 'my one and only knows that she can Never hide'. |
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