Become What You Hate

This track is about is about questioning why the sky would choose to be blue if it had the choice to be anything else, “blue also meaning sad,” states frontman Aaron Pauley. “It's about comforting a loved one in a time of loss by telling them you feel blue, too.”

Just listening for the 784,654th time....and it's just perfect in every way. Just incredible. The only reason it was remade was to scoop up a boatload of money from a more modern and accepting audience. But it is a completely different song than the other one that sounds slapped together in a few takes without a thought for the meaning. This song captivates me still, after 50+ years. Takes me to the deep South and the poverty of some who lived thru truly hard times. And the powerful spirit of a poor young girl being abandoned to her future with only a red dress and her wits to keep her alive. She not only stayed alive, she turned her hard beginnings around, became self sufficient, successful and someone with respect for herself. She didn't let the naysayers and judgers stop her. She's the one sitting in the drivers seat at the end. So, not a song about a poor girl, but a song of hope and how you can rise up no matter how far down you started. There is a huge difference between a singer who simply belts out a song that is on a page in front of them, and someone who can convey an entire experience with their voice. Telling not just a story with words, but taking you inside it and making you feel like you are there, with their interpretation.

This song is timeless, and nearly 20 years after its creation, still possesses the mystique it did the first time i heard it ~1994. To me, at first blush, all those years ago, it had some kind of homo-erotic allure. The line "so that the others may do" tells of something which must be done for others to follow suit. It felt like like some kind of roxy-glam-pop invitation to sexual liberation. Upon further introspection I think the song may not have an intrinsic meaning, but simply represents a sort of "holding open the door" for people who otherwise might be affronted by this song/band's unusual style. I know, as a sort of armchair rock-historian, that there have been few bands so daring and so true to the sound that wanted to emerge from within, whether the creator wanted it or not. This band handled it with elegance and grace seldom, if ever, seen.

This song is Swift's response to the negative reputation the media has given her. "I can make the bad guys good for a weekend" - the bad guys are the paparazzi to Swift, but are good to the "player" since association with Swift immediately gives publicity. Any publicity is good publicity and Swift knows this. "You can tell me when it's over" - the tabloids rumor relationships are over before the couple announces it officially. With this song Swift is portraying the way she is portrayed by the media. It is a sarcastic jab at how she views herself and how her "ex-lovers" only wanted to be with her to increase their fame. I applaud the brilliance in writing about how you always write about relationships. It is expected so Swift is giving the media what they want and profiting off the attention.

Matt Shadows their lead singer says the song was written as per request from the developers of Call of Duty: Black Ops 4. Watching the initial trailers for the game & looking at production sketches reminded him of the 'S-Town' podcast & its main protagonist, John B. McLemore. Matt also comments specifically on the lyrics: "I decided that the lyrics would shadow McLemore's life." In 2012, antiquarian horologist John B. McLemore sent an email to the staff of the show 'This American Life' asking them to investigate an alleged murder in his hometown of Woodstock, Alabama, a place McLemore claimed to despise. After a year of exchanging emails & several months of conversation with McLemore, producer Brian Reed traveled to Woodstock to investigate. Reed investigated the crime & eventually found that no such murder took place, though he struck up a friendship with the depressed but colorful character of McLemore. He recorded conversations with McLemore & other people in Woodstock. McLemore killed himself by drinking potassium cyanide on June 22, 2015 while the podcast was still in production. In the narrative of the podcast, this occurs at the end of the second episode; subsequent episodes deal with the fallout from McLemore's death while exploring more of McLemore's life & character.