This is not about being, bureaucratically, committed to an asylum. Like many Anthrax songs, it is a social commentary:- society ('the world'), on a large scale, complains about itself; yet perpetuates itself, by way of (educational and political) programmes and 'reforms' that (like a maze) do nothing but retract what was given to protestors by previous agendas.
The video (symbolizing 'gay rights') depicts how a man, for example, might think, or claim, he is a woman... and/or (therefore) fit for motherly roles; as well as portraying examples of abusive/misgiven authority. A literal 'madhouse' is used as a metaphor for the macrocosm.
Those seeking intimacy/counsel/confession regarding loneliness/paranoia/guilt or fear, such as mentioned in the lyrics, are nudged (in typical Anthrax style) not to surrender to 'doctors' (whatever badge they might produce), nor yet to Catholic 'priests' for that matter; but they, or those, you yourself (privately and diligently) have deemed worthy of the confidence (this principle is that expressed in Kate Bush's "Mother Stands For Comfort" and, in a different manner, Shel Silverstein's "Boy Named Sue").
This is not about being, bureaucratically, committed to an asylum. Like many Anthrax songs, it is a social commentary:- society ('the world'), on a large scale, complains about itself; yet perpetuates itself, by way of (educational and political) programmes and 'reforms' that (like a maze) do nothing but retract what was given to protestors by previous agendas. The video (symbolizing 'gay rights') depicts how a man, for example, might think, or claim, he is a woman... and/or (therefore) fit for motherly roles; as well as portraying examples of abusive/misgiven authority. A literal 'madhouse' is used as a metaphor for the macrocosm.
Those seeking intimacy/counsel/confession regarding loneliness/paranoia/guilt or fear, such as mentioned in the lyrics, are nudged (in typical Anthrax style) not to surrender to 'doctors' (whatever badge they might produce), nor yet to Catholic 'priests' for that matter; but they, or those, you yourself (privately and diligently) have deemed worthy of the confidence (this principle is that expressed in Kate Bush's "Mother Stands For Comfort" and, in a different manner, Shel Silverstein's "Boy Named Sue").