I have a number of qualms about posting anything regarding my lyrics. A fixed interpretation freezes the purposeful ambiguities and withholding of judgement that ultimately allow a work to survive before it is inevitably quarantined by academic speculation which begins to replace the experience of the work. I am convinced this is the reasoning behind the elliptical and referential nature of much of twentieth century writing. Cultures and perspectives change rapidly. It would be arrogant to pretend we have an accurate understanding of what it means, and even more so to apply that understanding to a fixed moral framework.
With that said, I believe that some explanation is necessary in my case, because I have, in some regards, been unsuccessful or unable to provide an adequate variety of perspectives and responses to properly contextualize my writing in any of the bands I've played with. For example, the song "Feminism Uberalles", a satire along the lines of the Dead Kennedy's song from it derives its name, never had an appropriate "Nazi Punks Fuck Off" style retort. Another element of my decision to write this down is simply that I felt the stories behind some of the songs are worth documenting, at least for my own sake.
I Hope All Your Friends Die:
Initially written as a joke to help me to come to terms with an individual I viewed as exploiting the deaths of people she barely knew as a means of attracting attention to herself. I was hung up on the idea of death at the time, and I always felt that this was the most disrespectful act one could do. Unfortunately it is one that I've found is inherently tempting. I had never intended this to be used as lyrics. It was, as I mentioned, a private joke. However, when Robocop was recording our demo, Tom had decided that he did not want to use his original lyrics for the songs he had written before the band had formed, including this one.
Initially I felt that the song was almost a parody of unintelligent hardcore lyrics, with certain coded references. One in particular that comes to mind is the book "Towards a Philosophy of Photography" by Vilem Flusser, hinted at throughout the song. The day before the first recording session for what would become our debut full-length, I discovered that a girl I knew had been killed by a drunk driver. She was coming home from a get-together I had been invited to but did not attend. The over-whelming falseness and retrospectively contrived friendships by those in the community in its aftermath, greatly contributed to the considerably angrier tone the song took. In some sense the presence of this meaningless tragedy and its sad insights into human nature changed the course of the album and our subsequent aesthetic.
I believe that if someone properly comes to an understanding of this song, they are afforded a much clearer view of my philosophy than I have offered elsewhere in my work. Not intended, as it probably appears to many, as the rewording of dittohead stupidity, the song was written at multiple levels of remove from my personal perspective and synthesized numerous strands of thinking that particularly pre-occupied me in the years prior to writing it.
In some sense, I think it is a means displaying how inaccurately applied the term "Feminazi" actually is. I am regularly frustrated by its use by blowhard talking heads as a blanket term to demean women speaking out against sexism or attempting to protect their reproductive rights. The song, which merges the nomenclature of feminism with that of fascism, highlights the absurdity of the term in its "normal" use.
The lyrics also reflect my most significant fears, and general paranoia. While the lyrics themselves are intentionally melodramatic, the point that movements or ideas I support are vulnerable to corruption and misuse is extremely frightening to me. Particularly as I see these tendencies in myself.
I think another reason I chose feminism in particular is that previously in punk and hardcore it had been dealt with simply as propaganda (something I find odd considering how complex and interesting the topic itself is). I wanted to write a song that would leave nearly everyone uncomfortable, and one that couldn't easily be written off and shelved away. In general I am distrusting of all ideology and anything that simplifies the complexities of human experience, and by imagining the corruption of something I support, I would be much more likely to retain that complexity than if it had been something I disagreed with from the outset.
Perhaps the greatest difficulty I have is to place in a linear, rational context, thought and I ideas that were derived through pattern recognition, and which if communicated properly move outward in a variety of directions. My attempts to clarify here stems from a hope that clarification will not lead to reduction of experience, but to further discussion of my work beyond the required talking points.