Moyet later described how her song "Goodbye 70's" had been inspired by her disillusionment with how the late-1970s punk scene had turned out, saying, "'Goodbye 70's' is about punk and not caring how you were dressed, and then I discovered that so many of my friends that I'd thought it all really meant something to just saw it as another trend... That's what 'Goodbye 70's' was all about, about how sour the whole thing became."
They sentenced me to twenty years of boredom
For trying to change the system from within
I'm coming now, I'm coming to reward them
First we take Manhattan, then we take Berlin
I'm guided by a signal in the heavens (guided, guided)
I'm guided by this birthmark on my skin (guided, guided by)
I'm guided by the beauty of our weapons (guided)
First we take Manhattan, then we take Berlin
(I'd really like to live beside you, baby)
(I love your body and your spirit and your clothes)
(But you see that line there moving through the station?)
(I told you, I told you, told you, I was one of those)
Ah, you loved me as a loser
But now you're worried that I just might win
You know the way to stop me, but you don't have the discipline
How many nights I prayed for this, to let my work begin
First we take Manhattan, then we take Berlin
I don't like your fashion business, mister
And I don't like these drugs that keep you thin
I don't like what happened to my sister
First we take Manhattan, then we take Berlin
(I'd really like to live beside you, baby)
(I love your body and your spirit and your clothes)
(But you see that line there moving through the station?)
(I told you, I told you, told you, I was one of those)
And I thank you for those items that you sent me, ha ha ha
The monkey and the plywood violin
I practiced every night, now I'm ready
First we take Manhattan, then we take Berlin (I am guided)
Ah remember me, I used to live for music (baby)
Remember me, I brought your groceries in (ooh, baby, yeah)
Well, it's Father's Day and everybody's wounded (baby)
First we take Manhattan, then we take Berlin
For trying to change the system from within
I'm coming now, I'm coming to reward them
First we take Manhattan, then we take Berlin
I'm guided by a signal in the heavens (guided, guided)
I'm guided by this birthmark on my skin (guided, guided by)
I'm guided by the beauty of our weapons (guided)
First we take Manhattan, then we take Berlin
(I'd really like to live beside you, baby)
(I love your body and your spirit and your clothes)
(But you see that line there moving through the station?)
(I told you, I told you, told you, I was one of those)
Ah, you loved me as a loser
But now you're worried that I just might win
You know the way to stop me, but you don't have the discipline
How many nights I prayed for this, to let my work begin
First we take Manhattan, then we take Berlin
I don't like your fashion business, mister
And I don't like these drugs that keep you thin
I don't like what happened to my sister
First we take Manhattan, then we take Berlin
(I'd really like to live beside you, baby)
(I love your body and your spirit and your clothes)
(But you see that line there moving through the station?)
(I told you, I told you, told you, I was one of those)
And I thank you for those items that you sent me, ha ha ha
The monkey and the plywood violin
I practiced every night, now I'm ready
First we take Manhattan, then we take Berlin (I am guided)
Ah remember me, I used to live for music (baby)
Remember me, I brought your groceries in (ooh, baby, yeah)
Well, it's Father's Day and everybody's wounded (baby)
First we take Manhattan, then we take Berlin
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For me the key was thinking about those two targets: Manhattan and Berlin. Why those two? It makes the most sense, if they can somehow be seen as iconic twins. In which way could they be seen as twins? It is rather obvious: They were the two foremost centres of radical artistic innovation back in the 1980s. So for the artist, they were twin citadels to conquer. They do not really pair well in any other sense. If the idea was to attack political power centres, it would be Washington, rather than Manhattan. And it would certainly not be Berlin back in the 1980s. If the idea was anti-capitalist, Manhattan would make sense, but the pairing would be with London, not Berlin. If it was something about Holocaust, as some suggest, Berlin would make sense, but Manhattan would seem an odd target.
So for me, these lyrics are about the artists drive for conquest inside the world of human creativity. Re-reading the lyrics from this perspective immediately allowed several dots to join. The detailed interpretation by crazypoet filled in the rest of the picture for me.
What then about Cohen's own statement that this is about "terrorism"? Well, see whom he mentions as his preeminent terrorists: Jesus, Marx, Einstein. This is about the terror of radical creativity, not bombs. Cohen would be right in the sense that e.g. Einstein's dissolution of space and time stroke terror much more deeply in human minds, than any number of misguided bomb-men can do. The same could be said for shocks arising from 20th century innovations in art and music, which again and again made large numbers of people feel deeply disturbed.
From Denmark 10 points go to Norway ...
leonardcohenfiles.com/
This is the website you are referring to.