Ayer estaba preparando el post con las eliminadas y cuando le di a enviar el foro habÃa hecho catacroquer, asà que ahà va.
Las eliminadas son:
Con 6 votos:
3.10 YEAH! OH, YEAH!
"Following on the heels Wi' Nae Wee Bairn Ye'll Me Beget, this is the second of the two murder ballads on 69 Love Songs â though both are eccentric in relation to the corps of 'traditional' murder ballads.
Using the classification schema for murder ballads provided by Eric Zorn the entry for Yeah! Oh, Yeah! would be:
Location of murder: Domestic
Method: Knife
Name of Killer / Relation to victim: Unspecified, wife
Motive: Perpetual whining, can't sing
Method of body disposal: Unspecified
Justice done? Yeah! Oh, Yeah!
LD Beghtol adds, "During this song at the Knitting Factory release show, Claudia Gonson was playing so hard that a bass string snapped on the piano, which could have decapitated Shirley Simms and me. But what a way to goâ¦" "
Con 5 votos:
1.2 I DON'T BELIEVE IN THE SUN
"The moon appears regularly in Stephin Merritt's songs: 14 instances were recorded before 69 Love Songs, and the same source identifies even more songs that mention eyes, which also appear in this song (The only stars there really are / were shining in your eyes).
The sun/moon/stars symbolism is associated with heavenly, spiritual love.
mym observes: See also the great "wings of night" speech in Romeo & Juliet, a play packed with references to Love, the moon, the sun and the stars:
Come, gentle night, come, loving, black-brow'd night,
Give me my Romeo; and, when he shall die,
Take him and cut him out in little stars,
And he will make the face of heaven so fine
That all the world will be in love with night
And pay no worship to the garish sun.
another case where astronomy will have to be revised.
LD Beghtol writes:
Alan Sparhawk of Low thinks this is the best song on the album, and once jokingly said in an interview that Stephin should just quit writing since he's making it that much harder on the rest of us songwriters⦠"
1.9 LET'S PRETEND WE'RE BUNNY RABBITS
"LD Beghtol writes:
Let's Pretend We're Bunny Rabbits is a tribute to Nayland Blake as much as to Orchestral Manoeuvres in the Dark. Also premiered at the art gallery rooftop concert in summer 1998 before recording really commenced. Nayland is famous for his bunny imagery, which Stephin Merritt was rather taken with at that time. I think itâs the saddest song Stephin has ever written, actually⦠all that death.
Allegedly, Blake's use of the character of a bunny rabbit in his artwork began as a way of discussing the stereotype of homosexual male promiscuity. See his oversized bunny costume and Heavenly Bunny Suit.
People have speculated about the origin of the line 'Let abbots, Babbitts and Cabots'. The most likely explanation is that it is a kind of reflexive in-joke about rhyming dictionaries â notwithstanding Stephin Merritt's claim in the 69 Love Songs booklet that "I've spent the whole time of 69 Love Songs without a rhyming dictionary". Elsewhere Stephin recommends the Clement Wood Rhyming Dictionary, but says he uses a range of dictionaries. The rhymes given for AB'it (the syllable coupling to which rabbit belongs) by Clement Wood begin: babbitt, Babbitt, cohabit, grab it etc. However Merriam-Webster's Rhyming Dictionary lists the rhymes for abit as: abbot, babitt, Babbitt and Cabot, which is too close to the lyric to be coincidence.
Though the rhyming dictionaries are not specific about the Babbitts to which they refer, Stephin Merritt probably favours the experimental composer and theorist Milton Babbitt.
On the other hand, there's an early George and Ira Gershwin song, "The Babbitt and the Bromide", which was originally sung on stage by Fred Astaire and his sister Adele, and later appeared in the film Ziegfeld Follies sung by Fred Astaire and Gene Kelly. In this song a Babbitt is a boring, workaday person (as is a bromide).
It should also be remembered that Merritt grew up and went to school in Boston, where the Cabots were the supreme family of Boston's social elite. "
2.4 TIME ENOUGH FOR ROCKING WHEN WE'RE OLD
"'There'll be time enough for rocking when we're old
We can rock all day in rocking chairs of gold ...'
'There'll be time enough for sleeping when we're dead, my love
There'll be time enough for sex and drugs in Heaven'
If A Pretty Girl is Like... is a riposte to Irving Berlin's A Pretty Girl is Like a Melody", then Time Enough For Rocking When We're Old might be the answer to Bon Jovi's I'll Sleep When I'm Dead. There's an obvious pun on 'rocking', traditionally associated with sex and drugs and marking you out as not old, but here proposed as something to be postponed until dotage â opposed to the infinitely more immediate urge to go dancing.
A spanish duo named Espanto covered this song in spanish.
(Y yo añado: http://www.goear.com/listen/9a38c79/tiempo-para-el-rock-espanto).
2.12 PROMISES OF ETERNITY
(No hay dibujo 😞 )
"When all 69 Love Songs are performed live over two nights, Promises of Eternity song closes the first night. It is performed by Stephin alone on stage, singing to Chris Ewen's backing tracks, which provides the opportunity to camp up some of the lyrics ('What if the show couldn't go on / ... What if all the stage hands were let go or fired' etc).
'No Seven, no 8½, no Nine, and no "10"'
Seven (a.k.a. Se7en) refers the David Fincher film [link]. 8½ is the Federico Fellini film. Nine is the Maury Yeston musical performed on Broadway in 1982 and 2003. And "10" is the Blake Edwards film.
In the 69 Love Songs booklet, Stephin Merritt says that the arrangement is meant as a Tom Jones tribute, while Daniel Handler suggests Fellini's "campy, sentimental, nostalgic, ridiculous, sublime vision seems to fit right in with the vision of this album". "
