"Return of the Post Moderns" as written by and Kevin Griffin....
Ten cent lovers
Beneath the covers Riding on a wet dream Silver tonic free
High stool sweet tarts
Equipped with green cards
Chomp their 401 k's
Semi-chocolate brie
Digging in Los Cruces
For an army drab container Carbon dating clothes for the last time they were washed
Shelby and Sheila
Onomatopoeia
Catch hang nail on Banlon
Shiver Martin Sheen
Preschool mothers
In Technicolor
Are fire bombing Dresden
Stanton, Harry Dean
Feeding line caught tuna to a neutered Bodhisattva Writhing peaches for the President Out on the White House lawn Beating Herbert Hoover With a leather tipped
Pinada Thorn and Katy drink the milk tinted Amerasian Green RETURN, RETURN, RETURN
Beneath the covers Riding on a wet dream Silver tonic free
High stool sweet tarts
Equipped with green cards
Chomp their 401 k's
Semi-chocolate brie
Digging in Los Cruces
For an army drab container Carbon dating clothes for the last time they were washed
Shelby and Sheila
Onomatopoeia
Catch hang nail on Banlon
Shiver Martin Sheen
Preschool mothers
In Technicolor
Are fire bombing Dresden
Stanton, Harry Dean
Feeding line caught tuna to a neutered Bodhisattva Writhing peaches for the President Out on the White House lawn Beating Herbert Hoover With a leather tipped
Pinada Thorn and Katy drink the milk tinted Amerasian Green RETURN, RETURN, RETURN
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I am amazed at how even his spontaneous drabble writing is creative and strangely eloquent. As another mentioned, his inclusion of 'onomatopoeia', for example. Half of these lyrics seem like they refer to something or stand alone, leading me to believe this song is in fact a hodgepodge of lyrical fragments Kevin had started on separate occasions, but couldn't 'gel' into one cohesive piece. ("Fire bombing Dresden" as a Vonnegut reference; "Ten cent lovers, underneath the covers, riding on a wet dream" is unsuspectingly poetic for a drabble piece and suggestive of 'fuck buddies' whose only relationships in life are purely carnal, and lack the ability to see any other layer of depth in acquaintances or form attachments to others)
The only truly unifying theme here is era. Postmodernism' boom was '20s to '60s, specifically '50s. So a lot of references in the context are reflective of the early-mid 1900's(Herbert Hoover, Harry Dean Stanton, the peak popularity of Technicolor, and again, the Dresden bombings circa WWII; also, Vonnegut was influential in postmodernism). I don't quite know what's with all the subtle military/war references though.