Both as a standalone and as part of the DSOTS album, you can take this lyric as read. As a matter of public record, Jourgensen's drug intake was legendary even in the 1980s. By the late 90s, in his own words, he was grappling with massive addiction issues and had lost almost everything: friends, spouse, money and had nearly died more than once. "Dark Side of the Spoon" is a both funny & sad title for an album made by a musical genius who was losing the plot; and this song is a message to his fans & friends saying he knows it. It's painful to listen to so I'm glad the "Keith Richards of industrial metals" wised up and cleaned up. Well done sir.
It doesn't hurt me (yeah, yeah, yo)
Do you wanna feel how it feels? (Yeah, yeah, yo)
Do you wanna know, know that it doesn't hurt me? (Yeah, yeah, yo)
Do you wanna hear about the deal that I'm making? (Yeah, yeah, yo)
You
It's you and me
And if I only could
I'd make a deal with God
And I'd get Him to swap our places
Be runnin' up that road
Be runnin' up that hill
Be runnin' up that building
Say, if I only could, oh
You don't wanna hurt me (yeah, yeah, yo)
But see how deep the bullet lies (yeah, yeah, yo)
Unaware I'm tearin' you asunder (yeah, yeah, yo)
Oh, there is thunder in our hearts (yeah, yeah, yo)
Is there so much hate for the ones we love? (Yeah, yeah, yo)
Oh, tell me, we both matter, don't we? (Yeah, yeah, yo)
You
It's you and me
It's you and me
Won't be unhappy
And if I only could
I'd make a deal with God
And I'd get Him to swap our places
Be runnin' up that road
Be runnin' up that hill
Be runnin' up that building (yo)
Say, if I only could, oh
You (yeah, yeah, yo)
It's you and me
It's you and me
Won't be unhappy (yeah, yeah, yo)
Oh, come on, baby (yeah)
Oh, come on, darlin' (yo)
Let me steal this moment from you now
Oh, come on, angel
Come on, come on, darlin'
Let's exchange the experience (yo), oh, ooh, ooh
And if I only could
I'd make a deal with God
And I'd get Him to swap our places
I'd be runnin' up that road
Be runnin' up that hill
With no problems
Say, if I only could
I'd make a deal with God
And I'd get Him to swap our places
I'd be runnin' up that road
Be runnin' up that hill
With no problems
Say, if I only could
I'd make a deal with God
And I'd get Him to swap our places
I'd be runnin' up that road
Be runnin' up that hill
With no problems
Say, if I only could
I'd be runnin' up that hill
With no problems
(If I only could)
(I'd be runnin' up that hill)
(If I only could)
(Be runnin' up that hill)
Do you wanna feel how it feels? (Yeah, yeah, yo)
Do you wanna know, know that it doesn't hurt me? (Yeah, yeah, yo)
Do you wanna hear about the deal that I'm making? (Yeah, yeah, yo)
You
It's you and me
And if I only could
I'd make a deal with God
And I'd get Him to swap our places
Be runnin' up that road
Be runnin' up that hill
Be runnin' up that building
Say, if I only could, oh
You don't wanna hurt me (yeah, yeah, yo)
But see how deep the bullet lies (yeah, yeah, yo)
Unaware I'm tearin' you asunder (yeah, yeah, yo)
Oh, there is thunder in our hearts (yeah, yeah, yo)
Is there so much hate for the ones we love? (Yeah, yeah, yo)
Oh, tell me, we both matter, don't we? (Yeah, yeah, yo)
You
It's you and me
It's you and me
Won't be unhappy
And if I only could
I'd make a deal with God
And I'd get Him to swap our places
Be runnin' up that road
Be runnin' up that hill
Be runnin' up that building (yo)
Say, if I only could, oh
You (yeah, yeah, yo)
It's you and me
It's you and me
Won't be unhappy (yeah, yeah, yo)
Oh, come on, baby (yeah)
Oh, come on, darlin' (yo)
Let me steal this moment from you now
Oh, come on, angel
Come on, come on, darlin'
Let's exchange the experience (yo), oh, ooh, ooh
And if I only could
I'd make a deal with God
And I'd get Him to swap our places
I'd be runnin' up that road
Be runnin' up that hill
With no problems
Say, if I only could
I'd make a deal with God
And I'd get Him to swap our places
I'd be runnin' up that road
Be runnin' up that hill
With no problems
Say, if I only could
I'd make a deal with God
And I'd get Him to swap our places
I'd be runnin' up that road
Be runnin' up that hill
With no problems
Say, if I only could
I'd be runnin' up that hill
With no problems
(If I only could)
(I'd be runnin' up that hill)
(If I only could)
(Be runnin' up that hill)
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Step
Ministry
Ministry
Bron-Y-Aur Stomp
Led Zeppelin
Led Zeppelin
This is about bronies. They communicate by stomping.
Holiday
Bee Gees
Bee Gees
@[Diderik:33655] "Your a holiday!" Was a popular term used in the 50s/60s to compliment someone on their all around. For example, not only are they beautiful, but they are fun and kind too ... just an all around "holiday".
I think your first comment is closer to being accurate. The singer/song writers state "Millions of eyes can see, yet why am i so blind!? When the someone else is me, its unkind its unkind". I believe hes referring to the girl toying with him and using him. He wants something deeper with her, thats why he allows himself to be as a puppet (even though for her fun and games) as long as it makes her happy. But he knows deep down that she doesnt really want to be serious with him and thats what makes him.
Gentle Hour
Yo La Tengo
Yo La Tengo
This song was originally written by a guy called Peter Gutteridge. He was one of the founders of the "Dunedin Sound" a musical scene in the south of New Zealand in the early 80s. From there it was covered by "The Clean" one of the early bands of that scene (he had originally been a member of in it's early days, writing a couple of their best early songs). The Dunedin sound, and the Clean became popular on american college radio in the mid to late 80s. I guess Yo La Tengo heard that version.
Great version of a great song,
No Surprises
Radiohead
Radiohead
Same ideas expressed in Fitter, Happier are expressed in this song. We're told to strive for some sort of ideal life, which includes getting a good job, being kind to everyone, finding a partner, getting married, having a couple kids, living in a quiet neighborhood in a nice big house, etc. But in Fitter, Happier the narrator(?) realizes that it's incredibly robotic to live this life. People are being used by those in power "like a pig in a cage on antibiotics"--being pacified with things like new phones and cool gadgets and houses while being sucked dry. On No Surprises, the narrator is realizing how this life is killing him slowly. In the video, his helmet is slowly filling up with water, drowning him. But he's so complacent with it. This is a good summary of the song. This boring, "perfect" life foisted upon us by some higher powers (not spiritual, but political, economic, etc. politicians and businessmen, perhaps) is not the way to live. But there is seemingly no way out but death. He'd rather die peacefully right now than live in this cage. While our lives are often shielded, we're in our own protective bubbles, or protective helmets like the one Thom wears, if we look a little harder we can see all the corruption, lies, manipulation, etc. that is going on in the world, often run by huge yet nearly invisible organizations, corporations, and 'leaders'. It's a very hopeless song because it reflects real life.
I think at its heart, this a song about the nature of gender equality. It is a commentary on the 'woman as second class citizen' sentiment (You want to know it doesn't hurt me? Well, it does, and here's what I'm willing to do about it. Listen to this deal I'm working). Perhaps she's saying this notion stems from the belief that it has always been men who have changed the world. "God" has always been considered male. It was a man ( Jesus) who supposedly gave his life for humanity.
I think she is offering to take that challenge - to sacrifice herself - in historical and modern contexts. If she only could, she'd make a deal with god to swap places with Jesus. She'd run up that road with a cross strapped to her back. She'd run up that hill (Golgatha, the place of the skulls, where Jesus was supposedly crucified). She'd run up that (office) building and forsake her family the way men have for generations. And she'd do it with no problem if that's what it takes for the world to value her (women) as we do men.
I always wished she would have changed the God pronoun to "she" for some reason, even if it constituted some small or perhaps naive instance of sociopolitical and/or religious rebellion. I really dig your interpretation.
@Rod962 @paedophageeplayground <br /> 2nd class citizens? Regarding the Church of Scie... whoops, Church of Feminism, It will never cease to fill me with a sense of wry amusement similar to how I feel about other known types of mind-viruses, better known as religion aka bronze-age sheepherder fairytales. A void where knowledge of history is meant to be but instead tightly stuffed with victimization fibers. <br /> <br /> "But when feminists suggest that God might be a She without suggesting that the Devil might also be female, they must be opposed." ~ Warren Farrell<br /> <br /> FREE QUICK HISTORY & SOCIOLOGY LESSON [excerpt]<br /> "Perhaps the art that best reflects life is film. In the chapter on man-bashing, I review the way films bashing men reflect our culture. But 1998 did at least see two films that were masterpieces in their empathetic representation of the male experience: Saving Private Ryan and Life is Beautiful. I review them on my website but suffice it to say here that part of their significance is that they were both commercial and critical successes, representing, therefore, holes in the Lace Curtain. <br /> Unfortunately, these films were more the exception than the rule among recent films. Titanic is the rule. No reality-based film had a greater opportunity to allow the world a clearer look at men’s willingness to sacrifice their lives for women and children than Titanic, on which men died more than women at a rate of more than 9 to 1. While we know Titanic had a fictionalized storyline, it developed a reputation for being meticulously researched with many characters based on reality. In some ways that was true. But one of the most fascinating stories behind the movie is the story revealed by what is and is not fiction. When we uncover how we fictionalize reality, we discover ourselves. And we also discover the methods used by the Lace Curtain to fictionalize reality. (Which is what distinguishes this analysis from the previous chapter’s look at man bashing in films.) So welcome aboard. <br /> Titanic Fiction: A woman saves a man at the repeated risk of her life. <br /> Titanic Fact: There is no record of a woman risking her life to save an adult man, no less repeatedly. <br /> Titanic Fiction: Men in charge decided to lock third-class (steerage) passengers below the decks. <br /> Titanic Fact: Public Record Office documents in London show that this never happened—in fact, a higher percentage of men from second-class died than from third class (92 percent vs. 88 percent), and 55 percent of the third-class women lived, which would not have been possible had they been locked below. <br /> Titanic Fiction: Being poor made one even more disposable than being a man.<br /> Titanic Fact: Being a man and being poor both increased disposability, but being a man increased it significantly more than being poor. First-class men were 22 times more likely to die (66 percent vs. 3 percent) than first-class women. The richest men were significantly more likely to die than the poorest women.<br /> Theoretically, there were three classes on the Titanic. Practically, though, men were more likely to die than the citizens of the first, second, or third class. In reality, the men were the invisible fourth-class citizens. Here is the breakdown by class and sex.<br /> “Titanic and the Invisible Fourth Class” Class: % of men dying and % of women dying. <br /> 1st class: M: 66% W: 3%<br /> 2nd class: M: 92% W: 16% <br /> 3rd class: M: 88% W: 45% <br /> Finally, the multiple scenes of men as cowards (“Men first! Leave the women and children behind") negates the reality, especially regarding First Officer William Murdoch, who was portrayed in the film as taking a bribe, shooting a third-class passenger, and then killing himself. In real life, “Murdoch behaved heroically, sacrificing his life after laboring frantically to save others." Twentieth Century Fox did apologize for their distortion, but all the scenes of his corruption and cowardice remain.<br /> In brief, the mandate: of masculinity, to be more disposable than a third-class citizen, was diluted by three methods, all fiction: (1) Showing a woman also willing to die to save a man; (2) Turning a heroic man (William Murdoch) into a coward and killer, and (3) Sensationalizing class disposability (via the lockout scene and the portrayal of Murdoch killing a third-class passenger while accepting a bribe from a rich man). When disposability is falsely made a characteristic of both sexes and class disposability is played up, it leaves us downplaying the true disposability of masculinity - only 8 percent of the second-class men saving themselves while saving 84 percent of their wives and 100 percent of their children."