| Lisa Mitchell – Neopolitan Dreams Lyrics | 10 years ago |
| @[rbccstmrtn:3310] and "you're not 100% in the room" implies you're not committed to me. | |
| Lisa Mitchell – Neopolitan Dreams Lyrics | 10 years ago |
| @[chocodash:3309] , i think it's under my tightly button sleeves...extended metaphor for what the thieves (aka thoughts) are going. | |
| Lisa Mitchell – Neopolitan Dreams Lyrics | 10 years ago |
|
I think this is a song about lack of connection and the dreamy-like quality of being in love without really knowing someone -- a willingness to overlook things that may be unpleasant and be idealistic about another person and not accept (meaning, be in denial) about who they really are, a superficial liking of someone. she refers to thoughts as "little thieves" and she "have no where [she'll] have time" for more than "one thought at a time". "You're not in the room" means the other person's authenticity escapes her. Being in the dark is being ignorant: "Deepest of the dark nights / Here lies, the highest of highs" -- this is the old idea that "ignorance is bliss." Her focus is on the external things: "I like the way that you talk / I like the way that you walk / Its hard to recreate such an individual gait." i think that the writer is aware of the denial....like it's just under the surface: "You go on, I'll be okay." Its just a little touch of fate, it will be okay It [fate] sure takes its precious time, but it's [fate has] got rights and so have I. we're not even tempting fate, here, accepting fate incompletely...by dreaming. The songs tune has a lilt-y, light feeling. the xylophone tinkering has a music-box like sound...reminiscent of childhood nights, when we're most dreamy. The only thing that escapes me is the title: Neapolitan dreams. Neapolitan means "of or pertaining to Naples, a city in Italy." When i think of that, i think of the ice cream and variety. This makes me look again at the beginning of the song: Almost suggests the loved one has wanted a little "variety." And what do people do as a self-defense mechanism? denial. That reconsidered, here is the subtext I hear: You go on I'll be okay -- "go off with your lover" I can dream the rest away -- "i'll pretend this isn't happening" Its just a little touch of fate, it will be okay -- "it's nothing, just life happening,really." It sure takes its precious time, but it's got rights and so have I. -- "i can't control this, but i can control myself and i think i'll just look away bc that's more comfortable." I turn my head up to the sky -- "I'll look away hopefully toward brighter things." I focus one thought at a time -- "It's difficult because there are so many thoughts" I do not let the little thieves under my tightly buttoned sleeves -- "I can't let the thoughts get to me" And the kicker: You couldnt be alone, -- [explicit] the time I feel like I am walking blind -- "i've been deceived." |
|
| Gotye – Somebody That I Used To Know Lyrics | 14 years ago |
|
"Told myself that you were right for me, But felt so lonely in your company" shows how the lover intellectualizes his experience with his beloved; he can't "feel" it until it's over and she's gone. It's a sort of paralysis of emotion that happens for a wounded person in intimate relationships. "You can get addicted to a certain kind of sadness, Like resignation to the end, Always the end." shows fear of abandonment. |
|
| Gotye – Somebody That I Used To Know Lyrics | 14 years ago |
|
It's common for people who have abandonment and betrayal issues to focus on the temporary nature of relationships and have an innate inability to trust. Lovers like this (Gotye) often, even in the early and middle stages of relationship, convince themselves they don't need anyone or anything or any love as demonstrated in the lyrics "i guess i don't need that though" and "I don't even need your love." For these people, the act of loving someone actually hurts, not generally associated with pleasure -- as in "that was love and it's an ache I still remember" -- because of what it inevitably leads to: being hurt and left behind. They associate love directly with pain and they turn off or away from the beloved after brief glimpses of love, intimacy and closeness. But the attachments are still attachments -- the needs ARE real -- and when the attachments are broken they feel alienated even when they are in agreement it's not working. The protest phase begins...lashing out...blaming... demonstrated by the raised voice in the chorus blaming "you didn't have to cut me off... you didn't have to stoop so low..." (you, you, you...) In the video, notice how the volume of singing is quieter and more revealing and emotionally tender and honest when the lover is naked and alone and he gets louder when he is in her presence, camouflaged and "safe?" He doesn't even look at her when he's singing his protest. His body is rigid. This is genuine fear. The beloved's (Kimbra's) voice points out the experience of the beloved being blamed for actions that represented previous loss and feeling set up for failure. In the video, notice how the beloved's voice is softer when she's camouflaged, her face is NEVER camouflaged and she is able to look at him. Her body is fluid when it moves. She speaks her truth with poignancy and courage. She's able to say what she wants, "I don't wanna live that way,""Reading into every word you say" and being confused with what damage she caused and what was residual from the past, "had me believing it was always something that I'd done." She clearly has tried to connect and is frustrated by the wall of ridgity and blame she's faced with. They both have a certain manner of "hiding" to do from one another; these passionate emotions are dangerous and vulnerable. I think the lover is the more damaged of the two. The beloved stands up for herself, is able to walk away. He can't by virtue of it being mostly his song. He's hanging on imaginatively because imaginary, former, lamented relationships are safer than real, challenging current ones. He is called out by his beloved's experience with him being unable to let go of others that he "used to know" in the lyrics "You said that you could let it go / And I wouldn't catch you hung up on somebody that you used to know..." I think it's interesting that the camouflage is gold, silver and bronze and green and filled with sharp edges. That which we find the most valuable and soft of metals should have such sharp, painful corners. Green symbolizes life. The lover has no green in his camouflage, but his eyes are BRIGHT green. The lover has some green; her eyes are dark. (She's partially healthy). And the lines in the artwork are tiny chains (symbol of burdensome attachment and prison -- how love can imprison us.) "Somebody i used to know" also is demonstrative of the idea that people are always undergoing change. You may know them now, but you may not know them later...bc the ties to sharing intimate information and experiences has passed. This song and video both illustrate how relationships in the Western cultures tend to have a certain solidarity and finiteness to them (a concept with more "sharp edges") and we might see this song, because the experience in it is so painful, to look for opportunities to take better care of one another, even as our relationships grow and change...and to take a bit more responsibility for those we love, to move with more fluidity and grace through life and love. The big question is "how?" |
|
| Damien Rice – 9 Crimes Lyrics | 14 years ago |
| i was just noticing how the "yeah?" is quiet and subtle in the first half of the song...and then as the emotion and tension build, it's drawn out... "yeaaaaa--aaaah" -- almost as an orgasmic cry. | |
| Damien Rice – 9 Crimes Lyrics | 14 years ago |
|
i researched to verify, and sadly -- no, guns do not hold 9 bullets. http://wiki.answers.com/Q/How_many_bullets_in_a_gun nice try though. it would have been a nice connection. |
|
| Damien Rice – 9 Crimes Lyrics | 14 years ago |
|
while i'm not in agreement with the representations in your interpretations, i think the sentiment and spirit are on...meaning the reaction you have to it is very much like what i and apparently others who have posted their reactions here have had. i hope you decide to embrace the multi-faceted nature of this work. most great works of art have layers and layers of meaning, and one can find more value looking at it from various lenses (freudian, colloquialisms, metaphorical, symbolic, psychological, historical, regional, etc.) at the same time, it would be interesting to hear from the artists mouth what he was trying to express. as a poet/writer, i sometimes just let concepts out, not giving them much thought -- and that's when really raw, original content emerges. i am reminded, too, of the intellectual forum that was brought to bear on one of robert frost's poems. "Stopping by..," (http://www.poemhunter.com/poem/stopping-by-woods-on-a-snowy-evening-2/). A group of his peers gathered, sat him in a chair in a corner, argued over the meaning of the last line "and miles to go before i sleep" until they came to consensus. when the deliberations were complete and they had what they felt was the "right" answer (which was JAM PACKED full of meaning and subtext), the group then asked him what he meant. He replied, "I was tired and wanted to get home." Just goes to show that even in a Freudian world, a cigar can still be "just a cigar" -- and not a phallic symbol. |
|
| Damien Rice – 9 Crimes Lyrics | 14 years ago |
| not too deep or too long. i hadn't seen her as having been cheated on first necessarily and the "put me out with the waste" comment being an angry, self-deprecation, as in "why don't you just put me out with the waste." this new idea brings more to the "wrong time to be thinking of you" -- she should be thinking of herself now that she's been betrayed by his infidelity, but instead she's deeply sad and still loves him. wow. nicely put. | |
| Damien Rice – 9 Crimes Lyrics | 14 years ago |
|
your interpretation reminds me of the coldness of he song "if you can't be with the one you love, love the one you're with" by crosby, stills, nash & young -- though i'm not in agreement that the song's sentiment is quite so brash. listen to the man's voice. he's clearly torn...there's an emotional AND sexual tension. |
|
| Damien Rice – 9 Crimes Lyrics | 14 years ago |
|
i love it... "pull the trigger or get off the pot" is a saying we have in the U.S.A. also -- but seeing the writer is irish, i lean very much toward this. i still can't ignore the freudian interpretation because the writer is also human, aka. a sexual being... thanks for the "obvious" idea which somehow completely evaded me...it's really good. |
|
| Damien Rice – 9 Crimes Lyrics | 14 years ago |
|
unique interpretation. perhaps twisting it a slightly different way: the woman's voice is what the man's voice imagines she is thinking.... |
|
| Damien Rice – 9 Crimes Lyrics | 14 years ago |
| your interpretation gave me the new insight of the nature of romantic loving and gun use. clearly when shooting a gun, you generally aim at something specific. it's very singular. so is romantic love. | |
| Damien Rice – 9 Crimes Lyrics | 14 years ago |
| this is the probably the most direct, succinct explanation of a very complex song. bravo. wish my interpretation were as well written! | |
| Damien Rice – 9 Crimes Lyrics | 14 years ago |
| the yeahs being lies to oneself -- brilliant observation. | |
| Damien Rice – 9 Crimes Lyrics | 14 years ago |
| yes yes! nicely said. i do appreciate the freudian interpretation, too. makes the song all the richer. both work. | |
| Damien Rice – 9 Crimes Lyrics | 14 years ago |
| i hadn't seen the defense aspect. brilliant interpretation. | |
| Damien Rice – 9 Crimes Lyrics | 14 years ago |
|
Think of this as a script, a drama. *Enter female voice: Leave me out with the waste, this is not what I do [self loathing expression, and admission that behavior is not within character, voice is guilty] It's the wrong kind of place to be thinking of you [the "wrong" place for a woman to be thinking of someone is when with someone else, female voice is fantasizing about her beloved while engaging sexually with "committed partner" or vice versa] It's the wrong time for somebody new [the wrong time for someone new is typically during a relationship or right after a breakup] It's a small crime and I got no excuse [Small crimes or "petty" crimes are crimes where a person isn't "physically" harmed -- but what of the *heart* and *spirit* -- how do we explain/value the truly immense pain that comes from not being/feeling genuinely loved, or worse, knowing it exists elsewhere and being torn apart by not being unified mind-body-soul with the beloved. The voice admits guilt, even though it is seen as a "small" crime because it is not "physical," it is a crime nonetheless, which often do lead to bigger crimes if not addressed properly by the "proper authorities"]. And is that all right, yeah? [previous dialogue is addressed to either beloved or committed partner, so it stands that this question is directed at the same persona. i think it's a genuine question not sarcastic. but it is a loaded question (along with the gun); the only useful reply can be "no." The "yeah" is a desperate flogging of the formal, precise "yes" -- "yeah" is a very tired "yes" -- someone tired of waiting.] I give my gun away when it's loaded [an image of something extremely dangerous to oneself; giving one's power away.] If you don't shoot it how am I supposed to hold it? [...shoot it could imply "at me" -- again a plea for action. how is the voice suppled to "take it" or hold it "in my heart"? if you don't "express yourself" -- the gun can be a metaphor for the heart or body.] *Next enters male voice Leave me out with the waste, this is not what I do [Same sentiment as female voice: "I'm behaving out of character, and I'm not thrilled with it"] It's the wrong kind of place to be cheating on you [*Note that the male voice is mentioned with place (NOT time), implying a physical location because the crime for a man is physical sexual act. Where is the really wrong kind of place to be cheating on a beloved? With someone he doesn't love: hooker, literally by the "waste," in an alley by a garbage dumpster.] It's the wrong time (the wrong time is the same for a man as a woman) she's pulling me through men regain their power through egoic acts. It's a small crime and I got no excuse [for a man, the physical crime is a small crime, it's not like he gave his *heart* away, right?] And is that all right, yeah? If I give my gun away when it's loaded [Gun for a man is a euphemism for his cock. Heart does not have to be full for his cock to be BUT when his heart is broken, uses it like a weapon on unsuspecting women. Is it really "alright" for a man to put his cock somewhere where his heart isn't? Again, I think the question is genuine.. Desired response from beloved is "no." He'd clearly rather be with *her* but he can't stand the pain of not. So he literally and physically "expresses" himself with another woman.] Is that all right, yeah? If you don't shoot it, how am I supposed to hold it? [A man giving his power away is giving his heart away. A woman giving her power away is giving her body away...] [And then we get the litany of tired cries to the beloved intermixed of whether it's "alright." And the morally, emotionally, spiritually "right" and desired answer: No. No in a question form is suggested that the "other" knows of the indescretion.] This song is an epic -- a story of how critical it is for men and women to talk to each other and be honest....mind-body-spirit-emotion really are NOT separate entities and should be expressed in unison for a person to maintain their own integrity. Otherwise, others -- and ourselves -- will be defiled.] |
|
| Damien Rice – 9 Crimes Lyrics | 14 years ago |
|
Think of this as a script, a drama. *Enter female voice: Leave me out with the waste, this is not what I do [self loathing expression, and admission that behavior is not within character, voice is guilty] It's the wrong kind of place to be thinking of you [the "wrong" place for a woman to be thinking of someone is when with someone else, female voice is fantasizing about her beloved while engaging sexually with "committed partner" or vice versa] It's the wrong time for somebody new [the wrong time for someone new is typically during a relationship or right after a breakup] It's a small crime and I got no excuse [Small crimes or "petty" crimes are crimes where a person isn't "physically" harmed -- but what of the *heart* and *spirit* -- how do we explain/value the truly immense pain that comes from not being/feeling genuinely loved, or worse, knowing it exists elsewhere and being torn apart by not being unified mind-body-soul with the beloved. The voice admits guilt, even though it is seen as a "small" crime because it is not "physical," it is a crime nonetheless, which often do lead to bigger crimes if not addressed properly by the "proper authorities"]. And is that all right, yeah? [previous dialogue is addressed to either beloved or committed partner, so it stands that this question is directed at the same persona. i think it's a genuine question not sarcastic. but it is a loaded question (along with the gun); the only useful reply can be "no." The "yeah" is a desperate flogging of the formal, precise "yes" -- "yeah" is a very tired "yes" -- someone tired of waiting.] I give my gun away when it's loaded [an image of something extremely dangerous to oneself; giving one's power away.] If you don't shoot it how am I supposed to hold it? [...shoot it could imply "at me" -- again a plea for action. how is the voice suppled to "take it" or hold it "in my heart"? if you don't "express yourself" -- the gun can be a metaphor for the heart or body.] *Next enters male voice Leave me out with the waste, this is not what I do [Same sentiment as female voice: "I'm behaving out of character, and I'm not thrilled with it"] It's the wrong kind of place to be cheating on you [*Note that the male voice is mentioned with place (NOT time), implying a physical location because the crime for a man is physical sexual act. Where is the really wrong kind of place to be cheating on a beloved? With someone he doesn't love: hooker, literally by the "waste," in an alley by a garbage dumpster.] It's the wrong time (the wrong time is the same for a man as a woman) she's pulling me through men regain their power through egoic acts. It's a small crime and I got no excuse [for a man, the physical crime is a small crime, it's not like he gave his *heart* away, right?] And is that all right, yeah? If I give my gun away when it's loaded [Gun for a man is a euphemism for his cock. Heart does not have to be full for his cock to be BUT when his heart is broken, uses it like a weapon on unsuspecting women. Is it really "alright" for a man to put his cock somewhere where his heart isn't? Again, I think the question is genuine.. Desired response from beloved is "no." He'd clearly rather be with *her* but he can't stand the pain of not. So he literally and physically "expresses" himself with another woman.] Is that all right, yeah? If you don't shoot it, how am I supposed to hold it? [A man giving his power away is giving his heart away. A woman giving her power away is giving her body away...] [And then we get the litany of tired cries to the beloved intermixed of whether it's "alright." And the morally, emotionally, spiritually "right" and desired answer: No. No in a question form is suggested that the "other" knows of the indescretion.] This song is an epic -- a story of how critical it is for men and women to talk to each other and be honest....mind-body-spirit-emotion really are NOT separate entities and should be expressed in unison for a person to maintain their own integrity. Otherwise, others -- and ourselves -- will be defiled.] |
|
| Damien Rice – 9 Crimes Lyrics | 14 years ago |
|
Think of this as a script, a drama. *Enter female voice: Leave me out with the waste, this is not what I do [self loathing expression, and admission that behavior is not within character, voice is guilty] It's the wrong kind of place to be thinking of you [the "wrong" place for a woman to be thinking of someone is when with someone else, female voice is fantasizing about her beloved while engaging sexually with "committed partner" or vice versa] It's the wrong time for somebody new [the wrong time for someone new is typically during a relationship or right after a breakup] It's a small crime and I got no excuse [Small crimes or "petty" crimes are crimes where a person isn't "physically" harmed -- but what of the *heart* and *spirit* -- how do we explain/value the truly immense pain that comes from not being/feeling genuinely loved, or worse, knowing it exists elsewhere and being torn apart by not being unified mind-body-soul with the beloved. The voice admits guilt, even though it is seen as a "small" crime because it is not "physical," it is a crime nonetheless, which often do lead to bigger crimes if not addressed properly by the "proper authorities"]. And is that all right, yeah? [previous dialogue is addressed to either beloved or committed partner, so it stands that this question is directed at the same persona. i think it's a genuine question not sarcastic. but it is a loaded question (along with the gun); the only useful reply can be "no." The "yeah" is a desperate flogging of the formal, precise "yes" -- "yeah" is a very tired "yes" -- someone tired of waiting.] I give my gun away when it's loaded [an image of something extremely dangerous to oneself; giving one's power away.] If you don't shoot it how am I supposed to hold it? [...shoot it could imply "at me" -- again a plea for action. how is the voice suppled to "take it" or hold it "in my heart"? if you don't "express yourself" -- the gun can be a metaphor for the heart or body.] *Next enters male voice Leave me out with the waste, this is not what I do [Same sentiment as female voice: "I'm behaving out of character, and I'm not thrilled with it"] It's the wrong kind of place to be cheating on you [*Note that the male voice is mentioned with place (NOT time), implying a physical location because the crime for a man is physical sexual act. Where is the really wrong kind of place to be cheating on a beloved? With someone he doesn't love: hooker, literally by the "waste," in an alley by a garbage dumpster.] It's the wrong time (the wrong time is the same for a man as a woman) she's pulling me through men regain their power through egoic acts. It's a small crime and I got no excuse [for a man, the physical crime is a small crime, it's not like he gave his *heart* away, right?] And is that all right, yeah? If I give my gun away when it's loaded [Gun for a man is a euphemism for his cock. Heart does not have to be full for his cock to be BUT when his heart is broken, uses it like a weapon on unsuspecting women. Is it really "alright" for a man to put his cock somewhere where his heart isn't? Again, I think the question is genuine.. Desired response from beloved is "no." He'd clearly rather be with *her* but he can't stand the pain of not. So he literally and physically "expresses" himself with another woman.] Is that all right, yeah? If you don't shoot it, how am I supposed to hold it? [A man giving his power away is giving his heart away. A woman giving her power away is giving her body away...] [And then we get the litany of tired cries to the beloved intermixed of whether it's "alright." And the morally, emotionally, spiritually "right" and desired answer: No. No in a question form is suggested that the "other" knows of the indescretion.] This song is an epic -- a story of how critical it is for men and women to talk to each other and be honest....mind-body-spirit-emotion really are NOT separate entities and should be expressed in unison for a person to maintain their own integrity. Otherwise, others -- and ourselves -- will be defiled.] |
|
* This information can be up to 15 minutes delayed.