Sunday, June 21, 2015

Metropolis decoded

Okay, sorry . . . I was away for a bit... but back at it...
So, yeah, I thought I'd go back . . . and with a little hindsight and new context look at what I wrote and how it might be applicable, relevant now and in the "brave new future". . . .

Again, I believe I was 18 years old . . . living in Davis, California . . . among other things, studying and reading a lot . . . thinking, pondering life and the times . . . and I had just read "The Prince" by Machiavelli, which book influenced a couple of songs I wrote at that time, "I Smoke A Pipe" and this one, "The Metropolis".

I have found that quite often, when in an "inspired" artistic, poetic mindset . . . I find myself writing words and phrases that at the time, I'm not certain what they exactly mean or reference.  I feel that they are important to the writing . . . and I just go with them . . . but they come about in the general artistic, intuitive flow of creating.  Later, I realize that they seem to address events, situations etc., that didn't exist at that time, but do later.  They are "prophetic" in a sense (with a small "p" I hasten to emphasize.)

Even the title of this song was always a bit odd to me, even thought I wrote it.  "The Metropolis"?  What exactly does that mean and especially in relation to the basic theme, purpose of the song?  Oh well, I liked the way it sounded and I do recall thinking that at the very least, it referred to the notion that the AC (Anti-Christ, who the song is about) was in charge, boss of "the city" or, the "world" so-to-speak. 

My idea in this song was the AC would be someone who sort of just fell into his position--found himself almost surprised . . . that, as it turned out . . . he is the Anti-Christ.  The lyrics portray a guy who is being swept along by events and almost allowed to participate as the "powers that be" bring him along to fulfill his role.  This is shown in the verse, "If the tire goes flat, the boys are gonna let me fix it" which meant . . . that this character is out of the normal loop of the things, that it would be novel for him to do something so mundane as change a tire, and, almost for the heck of it, "the boys" let him go ahead and do it.

The reference to Hamburg . . . just added a slight German-esque . . . thus Nazi-like feel to the AC's base of operations.  Again, I recently found it relevant with this Palantir/Metropolis/Bilderburger/--recent Austria conclave perhaps of note. . . .

At the time I wrote the song (1980) . . . I don't believe there was such a thing as A "world-wide video circuit" . . . but I had read "1984" . . . and so, I imagined a kind of technocratic tyranny utilizing global surveillance as being a regular, obvious component of the AC's reign.  Again, with this Palantir/Metropolis development . . . it gave me pause. . . .

The sun turning to black, the moon turning to blood are Biblical references I was aware of from Revelation 6:12:  "I watched as he opened the sixth seal. There was a great earthquake. The sun turned black like sackcloth made of goat hair, the whole moon turned blood red"/

Again, "the boys" are allowing the AC to watch as the signs purportedly foretelling his arrival appear in the heavens.  If I were to imagine this song actually having correct predictive production . . . I suppose I would say that when the "moon turns to blood" . . . the AC will be just coming out of the gates. . . .

"Well I never thought I'd be the guy that all the prophets seen
Oh but I made it with a lady and I'm thinking that Fate was her name"

This returns to to idea that the AC is being swept along by force above and beyond his own, even somewhat bewildered, but not at all chagrined and apparently quite content to roll with it.

Then we come to the bridge or break or whatever you might call it, and probably my favorite part as it packs a lot of deep, heavy references into a few sentences...
Here I wanted to add some more color and context to just who this guy is, what he's like, what he's about to do:

"Drinking with Nosferatu":  This shows him as a blood drinker, a vampire of sorts, or at least buddies with such, comfortable handing out, tossing a few (blood martini's?) back with the undead.

"We just lebensraum":  This refers to the German empire doctrine of "proposing an aggressive expansion of Germany and the German people . . . which Hitler and the Nazi's amplified into the concept that the German race was superior and had virtually a divine right to expand and dominate the world.  The AC here is saying basically, "Yeah, this is what we/I do . . . take over and dominate people. . . ."

"Who needs Krishnamurti": J. Krishnamurti--an Indian "anti-guru" guru I had read a lot of in my teens was groomed by Annie Besant of the Theosophical Society to be "Maitreya" . . . the new one World Teacher . . . predicted by the mystery/esoteric religions and secret societies.  Notably, Hitler and his Nazi elite occultists were profoundly influenced by the teachings of Alice Baily, Madam H.P. Blavatsky, Annie Besant of the occultic Theosophical Society and subsequent "Thule Society". . . .

Krishnamurti had other ideas though, and rejected his "fated" role.  But in the song I am referring to his slated destiny and saying, "who needs Krishnamurti (a New World Teacher) when you can have the Anti-Christ himself!

"We'll just clown around":  This phrase is fairly obscure and undoubtedly lost on everyone but here I am alluding to the fascist Italian dictator Mussolini.  He was often portrayed and even called by his critics "the clown" or a fool, a clown.  The AC is saying, "We'll just screw around doing our fascist dictator thing, don't mind us. . . "

"Well I'm sitting on a throne made of children's bones and promise":  Here I am relating how the elite--the wicked, evil elite--are the enemies of the innocent, of children (in contrast to Christ's admonition in Matt. 19:14 "Leave the children alone, and don't try to keep them from coming to Me".

I am now seeing deeper relevance in this line now that we know that the global elite seem to all be pedophiles and use child sex trafficking, snuff films, child enslavement and sex in financing their schemes along with use of children in bribery and blackmail.  Thus, their rule is built on "children's bones" . . . and vain, empty promises.

"It's a cross between Camelot and Kalamazoo":  This line combines nobility, aristocracy . . . with mundanity--and foreshadows the Anglo-American alliance making up the elite of the NWO.  For instance . . . the British Royal family, the Hapsburg's etc., in league with boot-strap risers from the America like the Rockefellers--"Camelot and Kalamazoo". . . .

"Well I never thought I'd be a bloody page in history
Oh but I'm sitting on an arrow and I simply had to break it in two":  Again we see the AC being somewhat surprised that he gets to be the Anti-Christ . . . and apparently compelled to walk through his dark role that is set before him.  The breaking of the arrow is a complex note which is not really explained in the song, but we know that a sign of the end times and perhaps the one world government and its leader, is that he/they will be "crying peace, peace" when there is not peace and that actual intent is war.  In Native American tradition, an arrow broken into two was a sign of intended peace. . . .

And there you have it.  Quite a bit of history and context packed into an 18-year old's song, if I do say so myself, lol.

Thanks for indulging me.  One of my own dreams that has yet to transpire, on a side note, is that I would have been a successful enough artist someday that fans or writers would be interested enough in my work to look into my lyrics, production etc., to ask why and what I did, intended in my creations. . . . I have quite a few like this that are packed with historical, literary, religious, spiritual terms, subjects, references, fwiw.....

God bless....


The Metropolis  [written circa 1980, recorded 1988, music/lyrics "brother thomas"]

Well my fleet drove down to Hamburg to see the show
If the tire goes flat the boys are gonna let me fix it
Well I never seen a lady that I didn't care to know
And I watch them all on the worldwide video circuit

The metropolis fell, the metropolis fell, the metropolis fell on me
The metropolis fell, the metropolis fell, the metropolis fell on me

When the sun turns to black, the boys'll let me see it
When the moon turns to blood, you know I'm on my way
Well I never thought I'd be the guy that all the prophets seen
Oh but I made it with a lady and I'm thinking that Fate was her name

The metropolis fell, the metropolis fell, the metropolis fell on me
The metropolis fell, the metropolis fell, the metropolis fell on me
The metropolis fell, the metropolis fell, the metropolis fell on me
The metropolis fell, the metropolis fell, the metropolis fell on me

Drinking with Nosferatu
We just lebensraum
Who needs Krishnamurti
We'll just clown around

Well I'm sitting on a throne made of children's bones and promises
It's a cross between Camelot and Kalamazoo
Well I never thought I'd be a bloody page in history
Oh but I'm sitting on an arrow that I simply had to break it in two

The metropolis fell, the metropolis fell, the metropolis fell on me
The metropolis fell, the metropolis fell, the metropolis fell on me
The metropolis fell, the metropolis fell, the metropolis fell on me
The metropolis fell, the metropolis fell, the metropolis fell on me

2 comments:

Linda L. said...

Thank you for unpacking this in detail. I had no idea so much was in there, and did not understand everything. I have always been interested in the deeper meaning of your songs, as I hope you remember from prior e-mails.

Anonymous said...

Hey Brother,

Can you direct me to sources that link Hitler to Blavatsky, Baily, etc.? I'm doing a study on Nazi ideology to "clear the air" on them being a "Christian" organization and this would most certainly be a missing link filled in my research.

Thanks!

Best,

JC

Brother Thomas ©2015

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