Huh. It's rather ironic, I think, in that I've listened to this a few times through my boyfriend's music collection, and it seems to've struck me rather strongly now, but hadn't then. He's unsure of exactly what it could be, which leaves me to speculate more completely. So, let's give it a go, shall we?
First of, there's discrepancy as to what it's even titled. iTunes insists 'Away', while AMG.com, Wikipedia and even the official site claim 'A Way'. The first doesn't seem to have as much impact as the latter, and the band insists they're somewhat interchangeable. This might even be purposeful. 'A Way' has one type of impact while 'Away' another.
Okay, taking a look at the chorus; with the first spelling, and arguably the most popular: 'Yes, you get by -- a way.' A way. Looking for 'a way' -- to get by, perhaps? It's a little unclear. Trying it out now with the alternative: 'Yes, you get by -- away.' Could be a play on words here. You'll get by -- away. So, either way, there seems to be some kind of distancing happening here. Whether you're primed for it, as granted, I am at the moment. I may check back six months from now and re-evaluate, but it does seem to hold merit.
So, who's the song about? A woman, sure. Looking for 'a way'. Perhaps a young woman with ambition? Big dreams and small beginnings. Taught, in some fashion, to 'marry up' and thus presenting herself as a desirable prospect for such a candidate. But let's kick back a second to the opening verse. This seems to indicate the unfolding story. Some line-by-line analysis here.
+
We're in love, lets be together
Happy times or heavy weather
Mother says "Today's a special day"
So lets not fight, O-K, yeah.
+
There's some kind of relationship; romantic. Seem to be stickin' it through: 'happy times or heavy weather'. But now we get a third component here; mother; and she says that 'today' is a special day, though we're not given any indication of what that might even be (until later verses) -- and there seems to be some agreement to maintain the peace for the semblance of festivity.
+
When you were at school you were a honey
The boys all loved you - you loved their money
The boys would stare - you'd cross your legs
And then you'd toss your hair
+
Ah, school-days. So, she's attractive, but moreso -- she knows how to attract. What to do, what not to. She's very scripted; a 'good girl', it seems. She 'crosses her legs' (which would indicate a bit of chastity) but 'tosses her hair'. She's a tease. Someone won't approve of anything else, so she works with what she's got, and that's the illusion of romantic destiny. (This element of 'illusion' will play out in a larger way later.)
Now, beyond the school-days verse, we're back on the home front yet again.
+
Money's scarce, but family honour
Brings it home, brings it home
And down the shops, the tongues they snicker
TV dinners - beer and liquor, oh yeah
+
Again, there's some modest beginning here, where the 'marrying into money' seems to hold some importance. The family's not rich and the subject here is focused upon ascending the poor financial climate in which her family is struggling, as was covered in the second verse. Why? 'Family honour' brings 'it' home, though we're not sure yet just what that is. Considering the time, region of the group, the shoppes are likely the common marketplaces and malls where the communities gather to shoppe, gossip, and relate. 'Tongues snickering' seems a clever way to indicate there's some level of tension here outside of the scope of the subject; possibly dealing with her family, given they were the most recent focus of the verse. We remain uncertain as to the roots of this motivation at this point. However, the Bolshoi seem to be rather talented, skilled storytellers. The origins will be revealed later.
Now, here's where it gets interesting. Seems somewhat typical up to this point. Woman brought up in poor household marries up (or has been brought up to do so, or seems to want to, whether or not it actually happens) and there's tacit agreement not to argue (over something -- money? Choice of suitor? Something not yet explained?) for the sake of the special event -- quite possibly the actual wedding. One can surmise.
So. Here's where it gets complicated.
+
Skeletons fall out of cupboards.
Curtains drawn, fall open to allow.
The light shows up the dust,
That plays around your face.
+
Oh ... my.
Cupboards, obviously in English lexicon are essentially closets -- and when skeletons fall from them, well; it's rarely a happy story, and this doesn't seem much to be anymore. Things long since hidden by the 'drawn curtains' that are now 'open to allow' the light showing up the dust that plays around your face' are being presented. Stuff is coming out of the dark. Aspects of everything are being revealed in the light of this once-darkness. But this is just the first piece of the puzzle. We jump back into the chorus before continuing on to the next verse.
+
Innocence and lies don't make a perfect match
Leave your door unlatched
I know a word can be untrue And yet still move you
+
The house has become a full-blown metaphor for the household; much as Poe did with his famous gothic horror, 'The Fall of the House of Usher'. Family secrets are being exposed; they aren't pretty, and the dust is being kicked up from every corner. Previously held truths are being un-masqued for the lies they actually are. The narrator seems to be asking that the 'door' remain 'unlatched'. This house, its secrets, have been tightly locked away for far too long, and, like the Ushers, the exposure is creating a bit of an uprising. But it's the last part of this verse that is perhaps most telling:
'I know a word can be untrue and yet, still move you.'
We're starting to get a sense of the narrator, now. He's an outsider who's had enough of an inside look to pose questions and make certain evaluations. This line seems to be somewhat compassionate, as his later statements will support. Perhaps, it's a friend of the subject. Maybe her lover; or an older relative or trusted source who has watched the story unfold from the sidelines and is possibly the most objective viewpoint. Actually, there are two; the first seems to be a lover, given the 'we're in love' -- and second switches to something more of the latter -- trusted other source, for lack of better determination.
So, what's being said?
Even exposed, lies can still hold as much sway as truth. Once confronted, the pain is not removed. Habits do not cease to exist once an unhealthy source has been identified. Addictions require recovery; dysfunction can be a type of addiction in itself -- sometimes requiring equal work, support, and healing. Discovery is only the beginning; and it's often terribly painful.
Any rate, we're about to get another peek into the past and see more of the story.
+
And all the time they bring their friends 'round
Dress you up, show you up
And all the time they told you it was true
Well, I'll believe you now
+
Anyone remember the old custom of debutantes? Right, I act as if this is a dead cultural vice; I know it isn't everywhere. Debutantes, it was discovered in later times, is as objectifying and degrading to women as are other more commonly, self-evident practises with the same result. They are at the mercy of the parents who will now 'present them to society' -- so they may be successful in finding a husband. This was effective, and highly necessary in the mid-to-latter nineteenth century -- yes, England especially -- where a woman was considered a burden upon her family, were she not married by a certain age. (Though, few -- Jane Austen comes to mind -- were insistent upon marketing their talents and surviving as professionals without the aid or support from a marriage. Pre-pre-feminism, I suppose, but far less violent and male-bashing. The 1960's in the good ol' U.S. of A. would take care of that.)
But I digress.
Still, there's seems to be a bit of this going on -- which hadn't completely yet died out in the 80's, especially, and certainly not in merry ole England. 'Dress you up, show you up.' She's a debutante; we're not clear yet as to whether she even wants to be, but they made her one so that she would find a 'suitable husband' and complete her life's mission (according to the parental folk) of 'marrying up'.
Pay extra special attention to the next line: 'And all the time, they told you it was true.' Remember the lie versus innocence -- not necessarily truth, but innocence -- smack-down from before? There was a naivete here. Perhaps, she took her parents word for law. She knew no differently, and may not (yet?) be the sort to challenge the status quo. Debutantes are typically 'released to society' (standard terminology there) around the age of fifteen / sixteen. Right about the time in which greater independence is sought in a variety of ways and will continue for the next several years, growing in intensity and scope.
In continuing with the 'innocence versus lies' line of thinking, we see there may be some challenging now. Seems there's some feuding, special events taking place, and the implementation of forced cordiality for the sake of saving face and keeping up appearances -- of which they seem especially fond, given the 'snickering tongues' in the marketplace.
'Well, I'll believe you now,' our narrator says, almost as confirmation to something that's been said by the subject, which we haven't yet been told, and may never know. But the closing verses will give us a better idea of what that could be, and why things are in the state they are. We'll still have to speculate how they got there, but it's not a leap. For whatever reason, he believes her now, despite the seeming evidence to the contrary. That's been exposed as false and misleading.
But now, the icing on this rather dark and bitter cake.
+
But then I just don't know I
Think I'd have to reconsider, yeah
I know when she got married
She looked fine in white and lacy frills
Oh yeah she had a baby
It was painful, it was worth it
And all the time they stuck the knife in
Pulled it up and twist it around
+
Uh, oh. We've got some uncertainty here. Our objective outsider really isn't sure what's going on, or may not be as eager to rock the boat as before. He seems to be agreeing with the subject in secret, maintaining a docile front in public. There's apathy here. An unwillingness to get too involved, just in case it all blows up. And believe me, it does look like it's done just that.
So, now we get the story. She got married. She looked fine at the wedding, all dressed in white; perhaps a blushing bride, smiling politely for the camera with a bottle of Scotch in the church dressing rooms -- perhaps, not. The fact that our narrator tells us 'she looked fine' doesn't tell us whether or not she IS fine -- only that she, too, seems masterful at presenting an organised front -- which isn't surprising, considering.
We skip ahead a bit; she has a kid now. Seems despite whatever's gone down in the past, she's going to continue the bloodline, try her hand at parenting, and keep living life. Right on. I can believe that. This happens more commonly than one might think; especially in an era of dysfunctional backgrounds -- the world over, but Western society especially.
Here's the wrap-up.
'It was painful; it was worth it. And all the time, they stuck in the knife in. Pulled it up, and twist it around.'
And we return the chorus. A way. Away. It doesn't matter your spelling; the meaning is clear. Be it 'a way' or 'away' -- you get by. Yes, you get by.
I'm convinced this is a tragic song -- full of pain, loss, and unending sadness. They came to the wedding, agreeing not to fight. They were probably present at the birth of her child -- but through it all, 'they stuck the knife in'. It never ends. The pain continues. There is no forgiveness, only resentment that builds and festers until it overtakes everyone involved. There are no relationships here. There are fronts. There is the sake of saving face and that which is most valuable stays intact: the illusion of happiness. The truth is too painful. What has emerged cannot be forced back into the darkness from which it came. As my own mother has said, 'the bell cannot be un-rung.' Sides have been taken, and it's unclear who's down for the count. One? Both? Neither?
It's the worst sort of estrangement -- that which is unacknowledged. Partial and yet complete. Nothing is resolved. What has been uncovered is not being reviewed to bring about a state of health and function, but is being ignored. Denial rules, and in it, there is life. But lonely ones. It continues, but differently, and bittersweet. Tragically.
Finally, there is apathy.
'Well, that's fine,' he says, with repetition; almost a sense of being defeated. There's anger now. The narrator isn't hiding it, and the irony is unmistakable. That's fine, he says. Fine. Fine. Fine.
Ironic, because nothing truly is anymore. Nor will it likely ever be. You just get by. And while it is, and it isn't -- it's fine.
Powerful song, tragic message. Strange life. The whole thing is truthful, but ironic. Even the upbeat melody. It ends in apathy; a sad acceptance.
You get by -- with a way, or away. It's all the same. You get by.
EDIT: I really didn't feel like re-writing the above, so I'll instead supply this last-minute insert. Take a closer look at the verse surrounding 'family honour'. I'm going to argue this family is too image-conscious to have never had money before. I believe they've fallen on hard times. Things are rough; luckily, they've got a daughter who appears to be their meal ticket. The 'WAY' out. A way. But things don't turn out as expected. The war continues. The skeletons are dancing in the regalia of the once-prestigious family, and they're not going back in the 'cupboards'. So, away, or a way. They all get by.
Of course, this is all just my opinion. I could be wrong.
Huh. It's rather ironic, I think, in that I've listened to this a few times through my boyfriend's music collection, and it seems to've struck me rather strongly now, but hadn't then. He's unsure of exactly what it could be, which leaves me to speculate more completely. So, let's give it a go, shall we?
First of, there's discrepancy as to what it's even titled. iTunes insists 'Away', while AMG.com, Wikipedia and even the official site claim 'A Way'. The first doesn't seem to have as much impact as the latter, and the band insists they're somewhat interchangeable. This might even be purposeful. 'A Way' has one type of impact while 'Away' another.
Okay, taking a look at the chorus; with the first spelling, and arguably the most popular: 'Yes, you get by -- a way.' A way. Looking for 'a way' -- to get by, perhaps? It's a little unclear. Trying it out now with the alternative: 'Yes, you get by -- away.' Could be a play on words here. You'll get by -- away. So, either way, there seems to be some kind of distancing happening here. Whether you're primed for it, as granted, I am at the moment. I may check back six months from now and re-evaluate, but it does seem to hold merit.
So, who's the song about? A woman, sure. Looking for 'a way'. Perhaps a young woman with ambition? Big dreams and small beginnings. Taught, in some fashion, to 'marry up' and thus presenting herself as a desirable prospect for such a candidate. But let's kick back a second to the opening verse. This seems to indicate the unfolding story. Some line-by-line analysis here.
+ We're in love, lets be together Happy times or heavy weather Mother says "Today's a special day" So lets not fight, O-K, yeah. +
There's some kind of relationship; romantic. Seem to be stickin' it through: 'happy times or heavy weather'. But now we get a third component here; mother; and she says that 'today' is a special day, though we're not given any indication of what that might even be (until later verses) -- and there seems to be some agreement to maintain the peace for the semblance of festivity.
+ When you were at school you were a honey The boys all loved you - you loved their money The boys would stare - you'd cross your legs And then you'd toss your hair +
Ah, school-days. So, she's attractive, but moreso -- she knows how to attract. What to do, what not to. She's very scripted; a 'good girl', it seems. She 'crosses her legs' (which would indicate a bit of chastity) but 'tosses her hair'. She's a tease. Someone won't approve of anything else, so she works with what she's got, and that's the illusion of romantic destiny. (This element of 'illusion' will play out in a larger way later.)
Now, beyond the school-days verse, we're back on the home front yet again.
+ Money's scarce, but family honour Brings it home, brings it home And down the shops, the tongues they snicker TV dinners - beer and liquor, oh yeah +
Again, there's some modest beginning here, where the 'marrying into money' seems to hold some importance. The family's not rich and the subject here is focused upon ascending the poor financial climate in which her family is struggling, as was covered in the second verse. Why? 'Family honour' brings 'it' home, though we're not sure yet just what that is. Considering the time, region of the group, the shoppes are likely the common marketplaces and malls where the communities gather to shoppe, gossip, and relate. 'Tongues snickering' seems a clever way to indicate there's some level of tension here outside of the scope of the subject; possibly dealing with her family, given they were the most recent focus of the verse. We remain uncertain as to the roots of this motivation at this point. However, the Bolshoi seem to be rather talented, skilled storytellers. The origins will be revealed later.
Now, here's where it gets interesting. Seems somewhat typical up to this point. Woman brought up in poor household marries up (or has been brought up to do so, or seems to want to, whether or not it actually happens) and there's tacit agreement not to argue (over something -- money? Choice of suitor? Something not yet explained?) for the sake of the special event -- quite possibly the actual wedding. One can surmise.
So. Here's where it gets complicated.
+ Skeletons fall out of cupboards. Curtains drawn, fall open to allow. The light shows up the dust, That plays around your face. +
Oh ... my.
Cupboards, obviously in English lexicon are essentially closets -- and when skeletons fall from them, well; it's rarely a happy story, and this doesn't seem much to be anymore. Things long since hidden by the 'drawn curtains' that are now 'open to allow' the light showing up the dust that plays around your face' are being presented. Stuff is coming out of the dark. Aspects of everything are being revealed in the light of this once-darkness. But this is just the first piece of the puzzle. We jump back into the chorus before continuing on to the next verse.
+ Innocence and lies don't make a perfect match Leave your door unlatched I know a word can be untrue And yet still move you +
The house has become a full-blown metaphor for the household; much as Poe did with his famous gothic horror, 'The Fall of the House of Usher'. Family secrets are being exposed; they aren't pretty, and the dust is being kicked up from every corner. Previously held truths are being un-masqued for the lies they actually are. The narrator seems to be asking that the 'door' remain 'unlatched'. This house, its secrets, have been tightly locked away for far too long, and, like the Ushers, the exposure is creating a bit of an uprising. But it's the last part of this verse that is perhaps most telling:
'I know a word can be untrue and yet, still move you.'
We're starting to get a sense of the narrator, now. He's an outsider who's had enough of an inside look to pose questions and make certain evaluations. This line seems to be somewhat compassionate, as his later statements will support. Perhaps, it's a friend of the subject. Maybe her lover; or an older relative or trusted source who has watched the story unfold from the sidelines and is possibly the most objective viewpoint. Actually, there are two; the first seems to be a lover, given the 'we're in love' -- and second switches to something more of the latter -- trusted other source, for lack of better determination.
So, what's being said?
Even exposed, lies can still hold as much sway as truth. Once confronted, the pain is not removed. Habits do not cease to exist once an unhealthy source has been identified. Addictions require recovery; dysfunction can be a type of addiction in itself -- sometimes requiring equal work, support, and healing. Discovery is only the beginning; and it's often terribly painful.
Any rate, we're about to get another peek into the past and see more of the story.
+ And all the time they bring their friends 'round Dress you up, show you up And all the time they told you it was true Well, I'll believe you now +
Anyone remember the old custom of debutantes? Right, I act as if this is a dead cultural vice; I know it isn't everywhere. Debutantes, it was discovered in later times, is as objectifying and degrading to women as are other more commonly, self-evident practises with the same result. They are at the mercy of the parents who will now 'present them to society' -- so they may be successful in finding a husband. This was effective, and highly necessary in the mid-to-latter nineteenth century -- yes, England especially -- where a woman was considered a burden upon her family, were she not married by a certain age. (Though, few -- Jane Austen comes to mind -- were insistent upon marketing their talents and surviving as professionals without the aid or support from a marriage. Pre-pre-feminism, I suppose, but far less violent and male-bashing. The 1960's in the good ol' U.S. of A. would take care of that.)
But I digress.
Still, there's seems to be a bit of this going on -- which hadn't completely yet died out in the 80's, especially, and certainly not in merry ole England. 'Dress you up, show you up.' She's a debutante; we're not clear yet as to whether she even wants to be, but they made her one so that she would find a 'suitable husband' and complete her life's mission (according to the parental folk) of 'marrying up'.
Pay extra special attention to the next line: 'And all the time, they told you it was true.' Remember the lie versus innocence -- not necessarily truth, but innocence -- smack-down from before? There was a naivete here. Perhaps, she took her parents word for law. She knew no differently, and may not (yet?) be the sort to challenge the status quo. Debutantes are typically 'released to society' (standard terminology there) around the age of fifteen / sixteen. Right about the time in which greater independence is sought in a variety of ways and will continue for the next several years, growing in intensity and scope.
In continuing with the 'innocence versus lies' line of thinking, we see there may be some challenging now. Seems there's some feuding, special events taking place, and the implementation of forced cordiality for the sake of saving face and keeping up appearances -- of which they seem especially fond, given the 'snickering tongues' in the marketplace.
'Well, I'll believe you now,' our narrator says, almost as confirmation to something that's been said by the subject, which we haven't yet been told, and may never know. But the closing verses will give us a better idea of what that could be, and why things are in the state they are. We'll still have to speculate how they got there, but it's not a leap. For whatever reason, he believes her now, despite the seeming evidence to the contrary. That's been exposed as false and misleading.
But now, the icing on this rather dark and bitter cake.
+ But then I just don't know I Think I'd have to reconsider, yeah I know when she got married She looked fine in white and lacy frills Oh yeah she had a baby It was painful, it was worth it And all the time they stuck the knife in Pulled it up and twist it around +
Uh, oh. We've got some uncertainty here. Our objective outsider really isn't sure what's going on, or may not be as eager to rock the boat as before. He seems to be agreeing with the subject in secret, maintaining a docile front in public. There's apathy here. An unwillingness to get too involved, just in case it all blows up. And believe me, it does look like it's done just that.
So, now we get the story. She got married. She looked fine at the wedding, all dressed in white; perhaps a blushing bride, smiling politely for the camera with a bottle of Scotch in the church dressing rooms -- perhaps, not. The fact that our narrator tells us 'she looked fine' doesn't tell us whether or not she IS fine -- only that she, too, seems masterful at presenting an organised front -- which isn't surprising, considering.
We skip ahead a bit; she has a kid now. Seems despite whatever's gone down in the past, she's going to continue the bloodline, try her hand at parenting, and keep living life. Right on. I can believe that. This happens more commonly than one might think; especially in an era of dysfunctional backgrounds -- the world over, but Western society especially.
Here's the wrap-up.
'It was painful; it was worth it. And all the time, they stuck in the knife in. Pulled it up, and twist it around.'
And we return the chorus. A way. Away. It doesn't matter your spelling; the meaning is clear. Be it 'a way' or 'away' -- you get by. Yes, you get by.
I'm convinced this is a tragic song -- full of pain, loss, and unending sadness. They came to the wedding, agreeing not to fight. They were probably present at the birth of her child -- but through it all, 'they stuck the knife in'. It never ends. The pain continues. There is no forgiveness, only resentment that builds and festers until it overtakes everyone involved. There are no relationships here. There are fronts. There is the sake of saving face and that which is most valuable stays intact: the illusion of happiness. The truth is too painful. What has emerged cannot be forced back into the darkness from which it came. As my own mother has said, 'the bell cannot be un-rung.' Sides have been taken, and it's unclear who's down for the count. One? Both? Neither?
It's the worst sort of estrangement -- that which is unacknowledged. Partial and yet complete. Nothing is resolved. What has been uncovered is not being reviewed to bring about a state of health and function, but is being ignored. Denial rules, and in it, there is life. But lonely ones. It continues, but differently, and bittersweet. Tragically.
Finally, there is apathy.
'Well, that's fine,' he says, with repetition; almost a sense of being defeated. There's anger now. The narrator isn't hiding it, and the irony is unmistakable. That's fine, he says. Fine. Fine. Fine.
Ironic, because nothing truly is anymore. Nor will it likely ever be. You just get by. And while it is, and it isn't -- it's fine.
Powerful song, tragic message. Strange life. The whole thing is truthful, but ironic. Even the upbeat melody. It ends in apathy; a sad acceptance.
You get by -- with a way, or away. It's all the same. You get by.
EDIT: I really didn't feel like re-writing the above, so I'll instead supply this last-minute insert. Take a closer look at the verse surrounding 'family honour'. I'm going to argue this family is too image-conscious to have never had money before. I believe they've fallen on hard times. Things are rough; luckily, they've got a daughter who appears to be their meal ticket. The 'WAY' out. A way. But things don't turn out as expected. The war continues. The skeletons are dancing in the regalia of the once-prestigious family, and they're not going back in the 'cupboards'. So, away, or a way. They all get by.
Of course, this is all just my opinion. I could be wrong.