He’s absolutely using vampires as a metaphor for conforming to capitalist society. To me, this song goes hand in hand with the feelings expressed in “Boy Who Destroyed the World” and many other AFI songs of this era when Davey was in his mid-20s.

He’s absolutely using vampires as a metaphor for conforming to capitalist society. To me, this song goes hand in hand with the feelings expressed in “Boy Who Destroyed the World” and many other AFI songs of this era when Davey was in his mid-20s.

For example, that song opens with the line “Once there was a boy who had a vibrant glow, but as it turns someone took it from him.” This also has an undertone of vampirism, but it’s all about growing up, losing your innocence and beauty, trading your freedom of expression and passion for life...

For example, that song opens with the line “Once there was a boy who had a vibrant glow, but as it turns someone took it from him.” This also has an undertone of vampirism, but it’s all about growing up, losing your innocence and beauty, trading your freedom of expression and passion for life in exchange for comfort and security and a seat at the table, then no longer being able to identify your true self or desires in that process, raging and mourning about what has been done to you, and fighting to undo it.

This is a common theme in much of death rock, gothic, glam, punk, etc. Look to legends such as Fugazi, Bauhaus, The Cure, et al and you’ll find similar perspectives on the erosion of the self and the anguish that it causes.

Basically, the song is about appliance movers who are supposedly resentful of the fact they're stuck moving things while two yoyos (a stupid, insane, or unpredictable person. Basically, two nuts) get on a stage and play instruments.

Basically, the song is about appliance movers who are supposedly resentful of the fact they're stuck moving things while two yoyos (a stupid, insane, or unpredictable person. Basically, two nuts) get on a stage and play instruments.

Personally, I don't think the movers were resentful or anything if it is indeed true that the lyrics are taken directly from thier conversation. Because I think the movers aren't actually resentful. The way they talk sounds more like begruding respect for what they've achieved. Basically "hey, good on those guys for getting a bunch of rich folks to pay you for Basically...

Personally, I don't think the movers were resentful or anything if it is indeed true that the lyrics are taken directly from thier conversation. Because I think the movers aren't actually resentful. The way they talk sounds more like begruding respect for what they've achieved. Basically "hey, good on those guys for getting a bunch of rich folks to pay you for Basically doing nothing! Even all the chicks love you!" ("Get your money for nothing and your chicks for free")

The movers even seems to Lament the fact that didn't learn any instruments themselves so they could get a piece of the pie.

"I should have learned to play the guitar. I should have learned to play them drums"

Like, now, I just think dire straights felt slighted at the movers calling what they do "not working" so they decided to paint the movers in a jealous light when it's less jealousy and more so reluctant admiration.

So the song is more like dire straights stroking thier own ego/a form of revenge by calling said movers jealous as sort of a get back because the fact the movers perceived the band's efforts as scant to nill also hurt thier sense of self and/or pride.

I don't think the content of the song is trying to hide itself - I think its coming to terms with a loveless marriage and in despair on hoping/begging that there is someone else around that can offer you some sort of escape. the "houses" line is mentioned whenever thom feels a state of either nausea or relief - optimism e.g. in No Surprises - "pretty house and sunshine / pretty garden" Street Spirit "Rows of houses / All bearing down on me" . "Last flowers" could just be a title but perhaps it could be a metaphor for everything,...

I don't think the content of the song is trying to hide itself - I think its coming to terms with a loveless marriage and in despair on hoping/begging that there is someone else around that can offer you some sort of escape. the "houses" line is mentioned whenever thom feels a state of either nausea or relief - optimism e.g. in No Surprises - "pretty house and sunshine / pretty garden" Street Spirit "Rows of houses / All bearing down on me" . "Last flowers" could just be a title but perhaps it could be a metaphor for everything, including relationships, will eventually die. Makes interesting room for interpretation as I always heard it as "if you take me then you'll get release"

Exteroception is a psychological term, referring to the perception of stimuli originating outside the body. It's the opposite of interoception, perceiving internal states like heartbeat or pain. Exteroception is awareness of the external world, in that sight, sound, and touch are distinct from the self.

Exteroception is a psychological term, referring to the perception of stimuli originating outside the body. It's the opposite of interoception, perceiving internal states like heartbeat or pain. Exteroception is awareness of the external world, in that sight, sound, and touch are distinct from the self.

In the context of the story, while this track is an instrumental, the title's meaning alone adds a hidden meaning. It's a metaphor of them waking up from the ideological fog and stepping outside their internal rage to finally see the world as it is. Both lost the ability to see past their hate and...

In the context of the story, while this track is an instrumental, the title's meaning alone adds a hidden meaning. It's a metaphor of them waking up from the ideological fog and stepping outside their internal rage to finally see the world as it is. Both lost the ability to see past their hate and were blinded by vengeance. After the dust of the war settles, they can now see their sins and have awoken to the truth. This track serves as the epilogue to the story, the post-credits scene of the two standing in the bloody chaos they created and realizing that they themselves were the ones to blame all along.