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| You shot your mouth off like a kid Who's scared to have a heart Your losing grip of what really matters Cause you don't know where to start You wake up in the morning With a starfuck for a friend The things you do are so in tune With what you said you hate What's giving you the will to live Is it looking for revenge The only laugh that you've got left Is hiding from the pain What must have happened to your soul Is skinning you alive The thing you fear most is love And that's buried deep inside So deep inside Don't lose your head Cause I can't do the time Don't lose your head Can you pay the price The heart your building out of rock Is turning into sand Cause you never took the time to think What it means to be a man You act like you got the answer When the question's never asked I've been to where your coming from But the postcards weren't so bad The knife I carry has been sharpened On the mouths that won't keep shut I'll stab at you in the darkness Cause I'm trying to shed some light Your point of view is so meaningless If you ever had one at all All you seem to care about Is who's gonna take the fall Who's gonna take the fall for you Don't lose your head Now I can't do the time for you Don't lose your head Can you pay the price Don't lose your head Cause I can't do the time Don't lose your head Can you pay the price Don't lose your head If you can't do the time Don't lose your head Can you pay the price Don't lose your head You can't pay the price Don't lose your head You know I can't do the time |
| QUOTE (Reckon @ Jan 8 2006, 08:55 PM) |
| :blink: Ok, I thought the lyrics were "start clock". :doh: Funny what you learn when you actually read the lyrics, instead of listening to them. :lol1: |
| QUOTE (Tori @ Jan 18 2006, 08:38 PM) | ||
A start clock for a friend? :hysterical: I'm sorry, but that has to be the lamest friend a person could have.... :hysterical: |
| QUOTE (Reckon @ Jan 19 2006, 03:11 AM) | ||||
Yeah, that is what I am saying! :lol1: I thought it was kinda cleaver actually. Like someone is always riding your ass to get stuff done? :dontknow: :hysterical: It made sense to me!!! What is a starfuck anyway? :dontknow: That doesn't make sense to me! :hysterical: |
| QUOTE (Tori @ Jan 18 2006, 09:19 PM) | ||||||
A starf*cker is like a groupie. You ever hear the Nine Inch Nails song? It's basically just someone who wants to sleep with a celeb to get famous. You know, for years I thought this song was about Geldof. Weird to find out who it's about. |
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| Nine Inch Nails Song: "Starfuckers, Inc." Album: The Fragile (Nothing/Interscope) by Patricia MacCormack PopMatters Film and Video Critic e-mail this article All The Fun of the (Not So) Fair Anyone who has ever fantasised about the goth freaks on Ricki Lake getting together with freaks from the circus will love the video clip for "Starfuckers, Inc." The clip, of course, includes a couple of rock stars, ostensibly completing America's current televisual simulacra. In the past, Nine Inch Nails' video clips have traversed the sacred ("Closer"), the profane ("Happiness is Slavery"), and (gasp!) even the boring ("March of the Pigs"), but they are almost always lush visual carnivals. The new video takes a real carnival as its setting, but can't decide whether to use it as a blasting condemnation of the music industry or a self-ironizing excuse for fun, an ambiguity that makes "Starfuckers, Inc." at once seductive and stupid, and jolting enough to get away with both. This seduction begins with the use of that notorious word in the title, itself frequently alluring in its brazen flouting of censorship guidelines, but also often an essentially stupid ruse to sell records to rebellious teens. On MTV, the clip is shown as "Starsuckers, Inc." Trent Reznor purportedly wrote the song about his falling out with Marilyn Manson, and hence it is an apparently scathing attack on the alternative music scene selling out to their record companies. Trent's love affair with Marilyn is so embittered that he even covers a few seconds of Carly Simon's ode to Warren Beatty's ego (or Mick Jagger's, or someone else's, depending on whose version of pop apocrypha you hear), "You're So Vain." The NiN song's tongue-in-cheek nature embellishes itself here. Goth may be deliciously weird and perverse but it is still vain, especially in Manson who's image oscillates between zombie movie extra and Bowie rock god. Considering the sombre, grindcore ethereality of the other songs on The Fragile, "Starfuckers, Inc", like Manson's Bowie-esque shape-shifting, stands out for its marketability. It is the only real "pop" song on the album, preying directly on adolescents who like glitter with their goth. Manson's relevance to this song seems astute. Reznor sums up both his own selling out by writing such a song and Manson's persistent image/sound sell-out. Nothing sells out to the consumer market quite like using the word "f&@k" in a song's title. We end up wondering who the hell doesn't sell out? And would a real pop god -- "shallow little bitch trying to make the scene" -- risk writing lyrics like this? The ostensible divide between pop ("sell-out") and goth ("credible") does not begin to address the interdependence or subtleties of each, but it has been at the heart of Reznor's and Manson's concerns for some time. The pop-goth conflation extends to pop culture. And pop culture demands that everything from music to film, or from art to the amputees and the other assorted minoritarian bodies frolicking with strippers in this clip, becomes "fashion." The grotesque performance is less so, due to the varying conditions of the human bodies, and also more so, due to the speed of the clip presenting the overwhelming images -- true to pop culture's call for "Next!", the extremity of images must be matched by their frequency and disposability. Grotesque metamorphoses into fascination rather than repugnance, or maybe an abject ambiguity of both. The result is not trashy, but deliriously baroque. Reznor, looking suspiciously like Robert Smith (teased hair, bad make-up, and an expanding girth) water-dunks and throws cream-pies at Courtney Love lookalikes. Rock gossip claims Reznor had a brief affair with Love in 1994 and she became obsessed with him. My question is, who was the star and who was the fucker? That year, after all, was Nine Inch Nails' heyday and Courtney was just getting famous but now, certainly, Love would be the star. So who is f&@king whom? Reznor seems to suggest a star is seduced by corporate record deals, and artistic integrity gets fucked when the dotted line is signed. Does Reznor see the record company that offers a "'sell-out" seduction, any record company that's not his (because Manson was first on Reznor's Nothing label)? Is the problem that both Love and Manson cheat on him with a larger record company, thus exchanging "alternative" for "pop" and hence "cred" for "sell-out"? Or is it that Love did eventually become more successful than Reznor? And who is that mysterious blonde in the limousine with Reznor throughout the clip? Eventually, the blonde strips off "her" wig and peels her gloves off to reveal... Surprise! Marilyn himself lewdly rekindles his relationship with Reznor. The simple binaries Reznor offers are elucidated as self-ironising and destined to exceed their own rudimentary definitions. The pop world, with its miscellaneous musical chairs relationships, at last expresses some consistency. Yeah right, or perhaps those of us who care about who is dating whom, whether on Ricki Lake or Entertainment Tonight, can get it faster and funnier in a four-minute clip. |
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| "Starfuckers, Inc." was a vicious mockery of Reznor's former friend and protégé, Marilyn Manson. Several vocal takes were chopped up and spliced together as a not-so-subtle jab at Manson's usual inability to sing well enough to capture his vocals in a single take. The lyrics satirized Manson as being vain and insincere. The recording ended with a clip from a KISS concert—Manson repeatedly professed to be "the KISS of the Nineties." Some of the lyrics in the song reflect on Courtney Love, widow of 90's grunge rock star Kurt Cobain. After the Love/Reznor "relationship", Love verbally slandered Reznor claiming he was a racist, homophobe, and was "under-endowed" in bed. A part of Starfuckers, Inc. was especially dedicated to her:(You're so vain/I'll bet you think this song is about you/Don't you? don't you?) and come from the Carly Simon song "You're So Vain." While NIN was on tour, Reznor would snidely introduce the song as being "about a friend of mine." During one such performance in New York, Reznor subtly changed the lyrics of one part of the song ("How did you think we'd get by without you?" became "How did we ever get by without you?") , then put the song on hold halfway through as he was joined on stage by a surprise guest — Marilyn Manson. The two duetted the rest of the song, with Manson putting his arm around Reznor at one point, then they finished the show with Manson's hit "The Beautiful People." This event — featured as an easter egg on the And All That Could Have Been DVD — seemed to mark an end to their feud as Manson went on to direct and appear in the "Starsuckers, Inc." video, but, for reasons unclear, the feud was resumed and Manson and Reznor are no longer on speaking terms. |
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INXS, Elegantly Wasted- Neil Kothari (Mercury) In the late 1980's, bands like U2, INXS, Poison, and Def Leppard dominated the musical landscape. With the arrival of Nirvana's Nevermind in 1991, though, the old school formula for success disintegrated. 'Hair bands' and musical showmanship fell out of favor, replaced by a return to raw, hard-hitting, punk-inspired music. Thematically, songs moved away from love and sex to the more dark emotions of alienation and rage. Through clever marketing, some 80s bands like REM and U2 not only survived, but thrived in the new grunge-influenced market. INXS, on the other hand, fell on hard times. Due to a rift with their then label, Atlantic Records, promotion of the band altogether stopped in the early 90s. In 1992, the band released their most experimental and powerful album, the critically-acclaimed masterpiece Welcome to Wherever You Are. Without Atlantic actively promoting the album to MTV and radio, though, the album fell flat, and INXS became unfairly labeled as an "80s band." 'When we finished Welcome, we really believed in that album, but we knew that it would be the end of us in the United States for awhile. But you gotta do what you believe in. You gotta roll with the punches,' lead singer Michael Hutchence recently said. A year later in 1993 the band released Full Moon, Dirty Hearts, an album recalling their ska/punk roots and R&B influences. Though considered a flop, INXS refused to allow current trends to dicate terms to them. Whereas other bands were busy ripping off the latest style, INXS maintained their artistic integrity, while still managing to remain relevant. INXS' new LP, Elegantly Wasted, the band's first effort in four years, is a stirring and passionate album, filled with experimentation. It also, of course, maintains INXS' trademark sound. The album opener, "Show Me (Cherry Baby)," is as hard-rocking as the band has ever been, with screeching guitars and heavy drums. The title track is reminiscent of the band's number one hit, "Need You Tonight," while "Everything" recalls such hit ballads as "Not Enough Time." Though an undeniable feeling of familiarity surrounds the new album, there is also a sense of the band having a new sense of purpose and fresh outlook on the future. Hutchence's vocals have never sounded better in his career, and combined with the rich, hook-laden music of the Farriss brothers, the album assuredly takes its rightful place as one of INXS' strongest efforts ever. Stand-outs on the album include the experimental "We Are Thrown Together," an intriguing mixture of sitar and guitar, the gospel-inspired "Searching," and "Shake The Tree," a song other rock bands like U2 can only dream of ever writing. On "Don't Lose Your Head," written for Liam Gallagher of Oasis, Hutchence angrily cries, "You wake up in the morning with a starf*ck for a friend, the things you do are so in tune with what you said you hate," and on the album finale, "Building Bridges," INXS delivers an emotional closer that leaves the listener gasping for more: "Are you comfortable in your skin? When does the strip begin?" INXS has sold over 20 million records in its 20 year career and Elegantly Wasted shows the band is as vibrant and relevant today as ever. |
| QUOTE |
| INXS' new LP, Elegantly Wasted...Though an undeniable feeling of familiarity surrounds the new album, there is also a sense of the band having a new sense of purpose and fresh outlook on the future. Hutchence's vocals have never sounded better in his career, and combined with the rich, hook-laden music of the Farriss brothers, the album assuredly takes its rightful place as one of INXS' strongest efforts ever....Elegantly Wasted shows the band is as vibrant and relevant today as ever. |
| QUOTE (caramelatina @ Jul 13 2006, 08:35 AM) |
| It made me sad as to think "What if Michael didn't pass? What kind of music would they have made at the turn of the century?" :sigh2: |
