| Tool – Lateralus Lyrics | 9 years ago |
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@[sadhaka:3937] I suspect the "black and white" also represent the hermetic concepts of negredo and albedo. The seeker is first fused with a polluting influence, typically envisioned as a whore, and later with a pure and virginal influence, The path requires carnal love and purely romantic love; the juxtaposition allows the seeker to discern that love is merely a projection of the self. Following these two phases of spiritual development, the initiate undergoes two more: xanthosis (a yellowing) and rubido (reddening). The latter represents rebirth. The Harry Potter children's book series is also a spiritual guide book that follows the same principles. |
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| Tool – Forty Six & 2 Lyrics | 9 years ago |
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@[Oberones:3926] Looked into it some more. This 48 chromosome nonsense is not z gnostic metaphor, but pseudoscience, promoted by a new religious movement called the Flower of Life Institute. Nothing to do with Jung. However, the song refers to progressions of conscious awareness, from the perspective of the Jungian shadow. The manifestations of these progressions are like a shedding snake skin, while the confrontation and consumption of the shadow forms an Ouroboros. It's a mystical message: one must confront their fears to supersede their cognitive limitations, because fear—the unaddressed shadow of the mind—separates humanity from spiritual transcendence. Creation, of both art and psyche, cannot occur in hiding. |
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| Tool – Forty Six & 2 Lyrics | 9 years ago |
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@[theWmann:3918] "Thought you were praying to the resurrector, Turns out he was just a reflector." The Arcade Fire |
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| Tool – Forty Six & 2 Lyrics | 9 years ago |
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@[Flowmaster:3917] Well said. So goes the intrusion of our transcendence: bliss from suffering and suffering from bliss. |
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| Tool – Forty Six & 2 Lyrics | 9 years ago |
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@[Oberones:3916] @[Oberones:3916] I think the scientific emphasis is a bit too heavy. Jung dressed Gnosticism in the guise of a science for sake of creating a secular spiritual movement. The anima and animus, forces defined by their contrary nature, are equivalent to the gnostic concept of syzygy. The Gnostics believed that wisdom, Sophia, was entrapped within matter by her child, the demiurge. The gnostic worldview is both dualistic and progressive. The dualism exists between the evolving realm of concept, language and matter (Sophia), and the opposing realm of deterministic physical experience (the Demiurge). They envisioned Sophia as seeking to separate herself from matter by the organizing the material world in forms that could support progressively developed concepts. According to the gnostic cosmology, this led to the creation of humanity, as a vessel for complex thought through a series of steps called emanations. These emanations were viewed to have manifested as equal and opposite concepts/forms called syzygies: love and hate, self and other, life and death, man and woman, etc. Keep in mind that these are metaphors for awareness. The crucifix illustrates the concept. A human form is affixed between the material world (the cross) and the spiritual realm (the sky) in suffering, and suffering is the pathway to bliss by means of the Jungian shadow concept. Shaman (and the Hellenistic religions were very shamanistic) find god through the suffering of a vision quest. So Moses isolated himself on a mountain; Jesus, in the desert. Now that I've covered the gnostic concept, what was Jung referring to by the 2 additional chromosomes? I suspect Jung was referencing the emanation that will stem from mankind, sort of like Nietzsche's ubermenche. He was saying that, from mankind, there will come another pure concept to break into opposites, just as good and evil cannot exist without one another, and did not exist before man's achievement of moral concept, man will support another emanation of thought (a release of Sophia) that will progress us beyond our current state. Jung envisioned this as occurring through the process of imaginative synthesis, what he deemed synchronicity (see the Police song) He wasn't talking apes and men. |
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| Tool – Third Eye Lyrics | 9 years ago |
| Not Buddhism, but Hinduism. The third eye of the dreaming deity Vishnu (he who pervades) resides where man cannot see. The song seems to describe the destructive effects of brief moments of creative transcendence. The sexual connotation is likely intentional. Toward the end it seems to suggest that Maynard's relationships seem like projected, empty experiences. | |
| Arcade Fire – Awful Sound (Oh Eurydice) Lyrics | 10 years ago |
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I disagree. I see the song as being written from the perspective of Orpheus. The awful sound being the burden of carrying Eurydice (the tree of knowledge) through him, propelling him to his own repeating doom as Orpheus rendered, as Innana's corpse in suspension, as Wotan in suspension, and as Christ upon the world tree of the cross. Eurydice is the song that fills the vessel, which seems real until brought by the vessel into the light of the living, then evaporates leaving the vessel to face the vitriol world alone. Hence . . . Why have you forsaken me? As a reflector. He is surely the vessel. Without existential meaning until filled with the Muse's gaze. But when Eurydice evaporates at the threshold? And should the vessel refuses to fill, is this not the path of the Buddha, who is also married to the tree. |
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| Beach House – Gila Lyrics | 15 years ago |
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My shake at it: He is an aging player. She wants to have a family with him, he does not wish to commit to such a "binding" situation - he is too busy socializing. His socializing as a priority is reflected in, "Man you got a lot of jokes to tell, So, you throw your baby's banners down the well"(i.e. she is joking on his commitment to social engagement over what she deems as a more lasting "family" future they can have together) His "handle on the past" is indirectly a statement of his fear of future commitment. Instead of progressing into life, this "he" chooses to rehash old behaviors as an avoidance tactic. "give a little more than you like" is a call to face his fear. These "little lovers" are younger lovers. Because he is older now, and his social appeal is rapidly shrinking, this can't last. This character’s irreversible fall from social grace is reflected in the "pick apart the past, you're not going back" statement. She cares for him. So she is asking him to stop wasting time on the past. She is waiting for the "last ship to come in" - which is the last young girl to have an interest in this aging individual. A "kingdom half-mine" means she is only a portion of his life until he himself realizes that the younger generation no longer sees him as a "cool guy". Finally, Gila may be a river, but the Gila is also a lizard. She is pointing to his aging skin and obvious loss of physical youth. Don't hurt a woman's feelings; they get pretty bitter about that kind of stuff |
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| Vampire Weekend – Ottoman Lyrics | 15 years ago |
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However, I have to give some credit. "They laid it out" Does also imply death. As does "lines of red." Good catch. This implies they killed the children's futures. (i.e. the family's "furniture arrangement"/"marital arrangement" is "killing" the futures of the couple being pressured into this marriage) Every word in this song has been selected for a duality of meanings. This is real challenging song writing - as opposed to "like a lollypop". |
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| Vampire Weekend – Ottoman Lyrics | 15 years ago |
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Also, the funeral is not literal. the lyric is simply implying that the pending marraige is bound for failure. They feel like it is the end of thier life-options. Ironically everyone at the wedding event is dresssed up - much like a funeral event. how is this not obvious? is anyone divorced here? Perhaps it is a life-experience issue. |
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| Vampire Weekend – Ottoman Lyrics | 15 years ago |
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"a portrait on the wall" reflects that the pending marriage will affix their lives permanently (i.e. paintings don’t change their depictions) In the phrase "they laid it out for you", the key word is "they". This marriage is arranged or heavily promoted. The union is not the choice of those to be married. The "soon it's all lines of red in a leather book" phrase implies when the event is over. All the family that pushed the marriage are gone, attentions turned elsewhere, these kids are on their own, left only with the registry of guest - which is conveniently in red like blood from a crime. This hints at the criminality of pushing one's children to make life decisions based on parental desires. "how handsome your furniture" and "portrait on the wall" both imply that these kids are being treated like objects - not people. There is an obvious motif of objectification. The freaking name of the song is an object that can be "arranged" — come on man, who names a song after furniture? The meaning is obvious from the name alone. This song is chuck-full of sarcastic praise "white women singing". Funny stuff. |
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| Vampire Weekend – Ottoman Lyrics | 15 years ago |
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So wrong! The wedding registry silly? here is my response to another reply. Chew on it. See if it makes more sense to you. "a portrait on the wall" reflects that the pending marriage will affix their lives permanently (i.e. paintings don’t change their depictions) In the phrase "they laid it out for you", the key word is "they". This marriage is arranged or heavily promoted. The union is not the choice of those to be married. The "soon it's all lines of red in a leather book" phrase implies when the event is over. All the family that pushed the marriage are gone, attentions turned elsewhere, these kids are on their own, left only with the registry of guest - which is conveniently in red like blood from a crime. This hints at the criminality of pushing one's children to make life decisions based on parental desires. "how handsome your furniture" and "portrait on the wall" both imply that these kids are being treated like objects - not people. There is an obvious motif of objectification. The freaking name of the song is an object that can be "arranged" — come on man, who names a song after furniture? The meaning is obvious from the name alone. This song is chuck-full of sarcastic praise "white women singing". Funny stuff. |
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| Vampire Weekend – Ottoman Lyrics | 15 years ago |
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Don't be so obtuse. The theme is obvious. "a portrait on the wall" reflects that the pending marriage will affix their lives permanently (i.e. paintings don’t change their depictions) In the phrase "they laid it out for you", the key word is "they". This marriage is arranged or heavily promoted. The union is not the choice of those to be married. The "soon it's all lines of red in a leather book" phrase implies when the event is over. All the family that pushed the marriage are gone, attentions turned elsewhere, these kids are on their own, left only with the registry of guest - which is conveniently in red like blood from a crime. This hints at the criminality of pushing one's children to make life decisions based on parental desires. "how handsome your furniture" and "portrait on the wall" both imply that these kids are being treated like objects - not people. There is an obvious motif of objectification. The freaking name of the song is an object that can be "arranged" — come on man, who names a song after furniture? The meaning is obvious from the name alone. This song is chuck-full of sarcastic praise "white women singing". Funny stuff. |
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