This song seemingly tackles the methods of deception those who manipulate others use to get victims to follow their demands, as well as diverting attention away from important issues. They'll also use it as a means to convince people to hate or kill others by pretending acts of terrorism were committed by the enemy when the acts themselves were done by the masters of control to promote discrimination and hate. It also reinforces the idea that these manipulative forces operate in various locations, infiltrating everyday life without detection, and propagate any and everywhere.
In general, it highlights the danger of hidden agendas, manipulation, and distraction, serving as a critique of those who exploit chaos and confusion to control and gain power, depicting a cautionary tale against falling into their traps. It encourages us to question the narratives presented to us and remain vigilant against manipulation in various parts of society.
A mass of Latin words falls on facts like soft snow
Blurs outlines, covers details, to make true what's not so
The great enemy of clear language is insincerity
Beware of thee scholars who use jargon and not clarity
George Orwell names names, thinks language
Is on the brink due to dictatorships, later quips:
A gap between one's real and declared aims
Turns one to long words like cuttlefish spurt inks
When one admits that nothing's certain one must also discover
That some things are much more nearly certain than others
It is much more nearly certain that we're here tonight
-for example- than that this or that political party is right
Certainly there are degrees of certainty
Or else one's landed in barren skepticism worthlessly
-Bertrand Russell from "Am I An Atheist Or An Agnostic?"
A man whose urban hustle was professor of logic
On SNL, Ashlee Simpson appeared with Jude Law
But when she tried a new song, her back track cued wrong
If she'd only gone with it, she'd have turned false to a real way
But the press that built her up had a field day
I think if a show has enough spectacle
Then maybe pre recorded vocals are permissible
Then the show's not about the power of the singer
But the sets, cool effects, sight gags she brings with her
In these kinds of shows the singer can be replaced-
A modular part, like a technician, dancer or face
This need not be bad, from a standpoint that's visual
The person can be chosen for talents dancing and physical
A dark Goth pop spectacle works best with a pale
Dark haired waif, who moves in an ethereal manner-
A buxom earth mother cast in this role would fail
And simply spoil the visual grammar
But Ashlee's handlers don't revel in fakes
They strive for a pseudo-punk, emoter fronting her mates
A manufactured manicured real so when curtain is pulled aside
And the fakery revealed there is embarrassment instead of pride
So says david byrne inside his tour diary
While he's known for irony
When words are revered that's the weapon of oppression
Please always question art, God, and democratic elections!
Blurs outlines, covers details, to make true what's not so
The great enemy of clear language is insincerity
Beware of thee scholars who use jargon and not clarity
George Orwell names names, thinks language
Is on the brink due to dictatorships, later quips:
A gap between one's real and declared aims
Turns one to long words like cuttlefish spurt inks
When one admits that nothing's certain one must also discover
That some things are much more nearly certain than others
It is much more nearly certain that we're here tonight
-for example- than that this or that political party is right
Certainly there are degrees of certainty
Or else one's landed in barren skepticism worthlessly
-Bertrand Russell from "Am I An Atheist Or An Agnostic?"
A man whose urban hustle was professor of logic
On SNL, Ashlee Simpson appeared with Jude Law
But when she tried a new song, her back track cued wrong
If she'd only gone with it, she'd have turned false to a real way
But the press that built her up had a field day
I think if a show has enough spectacle
Then maybe pre recorded vocals are permissible
Then the show's not about the power of the singer
But the sets, cool effects, sight gags she brings with her
In these kinds of shows the singer can be replaced-
A modular part, like a technician, dancer or face
This need not be bad, from a standpoint that's visual
The person can be chosen for talents dancing and physical
A dark Goth pop spectacle works best with a pale
Dark haired waif, who moves in an ethereal manner-
A buxom earth mother cast in this role would fail
And simply spoil the visual grammar
But Ashlee's handlers don't revel in fakes
They strive for a pseudo-punk, emoter fronting her mates
A manufactured manicured real so when curtain is pulled aside
And the fakery revealed there is embarrassment instead of pride
So says david byrne inside his tour diary
While he's known for irony
When words are revered that's the weapon of oppression
Please always question art, God, and democratic elections!
Lyrics submitted by Mellow_Harsher
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