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Tubes
Forum Groupie
Joined: March 28 2013
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Topic: Pigeons - Genesis Posted: April 30 2013 at 21:44 |
What's YOUR interpretation of the song? I have my own, but won't share it... yet.
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Tom Ozric
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Posted: May 01 2013 at 04:31 |
Pigeons pooing on a building
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Snow Dog
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Posted: May 01 2013 at 05:39 |
An office bloke wants to get rid of the pigeons. So he does.
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M27Barney
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Posted: May 01 2013 at 06:12 |
I reckon it was a "before it's time" - anti-Thatcher song.......
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chopper
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Posted: May 01 2013 at 06:30 |
Snow Dog wrote:
An office bloke wants to get rid of the pigeons. So he does. |
Yep, that's how I've always seen it, as a straightforward story about pigeons I guess you could read all sorts of things into it and make it out to be an allegory about practically anything.
Now as for "Match of the Day", that's an obvious allegory about Thatcherism, the economic state of Britain and it's contribution to the world economic crisis.
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Tom Ozric
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Posted: May 01 2013 at 06:36 |
chopper wrote:
Snow Dog wrote:
An office bloke wants to get rid of the pigeons. So he does. |
Yep, that's how I've always seen it, as a straightforward story about pigeons I guess you could read all sorts of things into it and make it out to be an allegory about practically anything.
Now as for "Match of the Day", that's an obvious allegory about Thatcherism, the economic state of Britain and it's contribution to the world economic crisis. |
Man, politics.....................
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chopper
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Posted: May 01 2013 at 07:42 |
Tubes wrote:
What's YOUR interpretation of the song? I have my own, but won't share it... yet. |
Come on then, share!
I suppose you're now going to say that "Supper's Ready" is not a song about a woman calling upstairs to her children having made a late evening snack for them.
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Dean
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Posted: May 01 2013 at 09:36 |
pfft.
I would have thought it was so obvious it is barely worth the effort of formulating the interpretation, which hitherto has been withheld, into more precise or possibly less prosaic summarisation and analysis of 'the lyric' contained in the expertly crafted, rhythmically edifying and philosophically illuminate language apropos the OPs desire to maintain a level of detached observational distancing that permits remote superintending of any ensuing analysis and discussion that would run counter to his preconceptions that have gestated under careful conditions of deliberation and self-cogitatation, which by deflectional means would indubitably focus upon the hegemony of the besieged combatants in the narative, (if the mere mention of both an office of a distinctly foreign nature and a square that commemorates an ocean-born battle between two opposing nations in the opening stanza were not indicative enough, henceforth no further hints or clues will be provided), coupled with the suppresion of the proletariat albeit in a metaphorical anthropomorphism caricature by virtue of an avian population, (of the clade Columbidae, and that is positively the last clue), that is an erzatz representation of the zeitgeist gestalt schadenfreude inherrent in the decentralised federalisation of quasifuedal civilisations embroiled in a timeless conflict between the corporate monitarianistic deregulation and fiscally-predicated puissance masquerading as a politicopsychosocial (yet often racially motivated and theologically delineated) Blytonism, [after Enid Mary, b.1897 d.1968, not to be confused with Carterism, Bonhamism or Helenaism, which are beyond the scope of this compendiary], which, all will be familiar, entails a central protagonist's companion of a diminutive stature and disproportionate aural receptors, hitherto a dweller of an ethereal kingdom that also is native to creatures whose chosen domicile is beneath a construction of timbers designed to facilitate the traversing of a waterway by a sojournering family of the genus capra, which would be worthy of further contemplation if it were not such a clumsily placed contrivance of no specific relevance to the lyric-anatomisation process. Needless to say subsequent derivations are an inevitable consequence and not necessarily constrained within the dictum of academic stricture normally found in such torpid establishments, which is a sufficient means of conveying the central idiomatic notionalisation that it is encompassing a considerable quantity of the encrusting guanofication of line one, verse one.
Edited by Dean - May 01 2013 at 12:22
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What?
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chopper
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Posted: May 01 2013 at 10:19 |
Dean wrote:
pfft.
I would have thought it was so obvious it is barely worth the effort of formulating the interpretation, which hitherto has been withheld, into more precise or possibly less prosaic summarisation and analysis of 'the lyric' contained in the expertly crafted, rhythmically edifying and philosophically illuminate language apropos the OPs desire to maintain a level of detached observational distancing that permits remote superintending of any ensuing analysis and discussion that would run counter to his preconceptions that have gestated under careful conditions of deliberation and self-cogitatation, which by deflectional means would indubitably focus upon the hegemony of the besieged combatants in the narative, (if the mere mention of both an office of a distinctly foreign nature and a square that commemorates an ocean-born battle between two opposing nations in the opening stanza were not indicative enough, henceforth no further hints or clues will be provided), coupled with the suppresion of the proletariat albeit in a metaphorical anthropomorphism caricature by virtue of an avian population, (of the clade Columbidae, and that is positively the last clue), that is an erzatz representation of the zeitgeist gestalt schadenfreude inherrent in the decentralised federalisation of quasifuedal civilisations embroiled in a timeless conflict between the corporate monitarianistic deregualtion and fiscally-predicated puissance masquerading as a politicopsychosocial (yet often racially motivated and theologically delineated) Blytonism, [after Enid Mary, b.1897 d.1968, not to be confused with Carterism, Bonhamism or Helenaism, which are beyond the scope of this compendiary], which all will be familiar entails a central protagonist's companion of a diminutive stature and disproportionate aural receptors, hitherto a dweller of an ethereal kingdom that also is native to creatures whose chosen domicile is beneath a construction of timbers designed to facilitate the traversing of a waterway by a sojournering family of the genus capra, which would be worthy of further contemplation if it were not such a clumsily placed contrivance of no specific relevance to the lyric-anatomisation process. Needless to say subsequent derivations are an inevitable consequence and not necessarily constrained within the dictum of academic stricture normally found in such torpid establishments, which is a sufficient means of conveying the central idiomatic notionalisation that it is encompassing a considerable quantity of the encrsuting guanofication of line one, verse one. |
Uncanny, that's what I was going to say.
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brainstormer
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Posted: May 01 2013 at 14:56 |
chopper wrote:
Dean wrote:
pfft.
I would have thought it was so obvious it is barely worth the effort of formulating the interpretation, which hitherto has been withheld, into more precise or possibly less prosaic summarisation and analysis of 'the lyric' contained in the expertly crafted, rhythmically edifying and philosophically illuminate language apropos the OPs desire to maintain a level of detached observational distancing that permits remote superintending of any ensuing analysis and discussion that would run counter to his preconceptions that have gestated under careful conditions of deliberation and self-cogitatation, which by deflectional means would indubitably focus upon the hegemony of the besieged combatants in the narative, (if the mere mention of both an office of a distinctly foreign nature and a square that commemorates an ocean-born battle between two opposing nations in the opening stanza were not indicative enough, henceforth no further hints or clues will be provided), coupled with the suppresion of the proletariat albeit in a metaphorical anthropomorphism caricature by virtue of an avian population, (of the clade Columbidae, and that is positively the last clue), that is an erzatz representation of the zeitgeist gestalt schadenfreude inherrent in the decentralised federalisation of quasifuedal civilisations embroiled in a timeless conflict between the corporate monitarianistic deregualtion and fiscally-predicated puissance masquerading as a politicopsychosocial (yet often racially motivated and theologically delineated) Blytonism, [after Enid Mary, b.1897 d.1968, not to be confused with Carterism, Bonhamism or Helenaism, which are beyond the scope of this compendiary], which all will be familiar entails a central protagonist's companion of a diminutive stature and disproportionate aural receptors, hitherto a dweller of an ethereal kingdom that also is native to creatures whose chosen domicile is beneath a construction of timbers designed to facilitate the traversing of a waterway by a sojournering family of the genus capra, which would be worthy of further contemplation if it were not such a clumsily placed contrivance of no specific relevance to the lyric-anatomisation process. Needless to say subsequent derivations are an inevitable consequence and not necessarily constrained within the dictum of academic stricture normally found in such torpid establishments, which is a sufficient means of conveying the central idiomatic notionalisation that it is encompassing a considerable quantity of the encrsuting guanofication of line one, verse one. |
Uncanny, that's what I was going to say. |
Word for word, me too.
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stegor
Forum Senior Member
Joined: March 23 2013
Location: Minnesota
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Posted: May 01 2013 at 15:01 |
brainstormer wrote:
chopper wrote:
Dean wrote:
pfft.
I would have thought it was so obvious it is barely worth the effort of formulating the interpretation, which hitherto has been withheld, into more precise or possibly less prosaic summarisation and analysis of 'the lyric' contained in the expertly crafted, rhythmically edifying and philosophically illuminate language apropos the OPs desire to maintain a level of detached observational distancing that permits remote superintending of any ensuing analysis and discussion that would run counter to his preconceptions that have gestated under careful conditions of deliberation and self-cogitatation, which by deflectional means would indubitably focus upon the hegemony of the besieged combatants in the narative, (if the mere mention of both an office of a distinctly foreign nature and a square that commemorates an ocean-born battle between two opposing nations in the opening stanza were not indicative enough, henceforth no further hints or clues will be provided), coupled with the suppresion of the proletariat albeit in a metaphorical anthropomorphism caricature by virtue of an avian population, (of the clade Columbidae, and that is positively the last clue), that is an erzatz representation of the zeitgeist gestalt schadenfreude inherrent in the decentralised federalisation of quasifuedal civilisations embroiled in a timeless conflict between the corporate monitarianistic deregualtion and fiscally-predicated puissance masquerading as a politicopsychosocial (yet often racially motivated and theologically delineated) Blytonism, [after Enid Mary, b.1897 d.1968, not to be confused with Carterism, Bonhamism or Helenaism, which are beyond the scope of this compendiary], which all will be familiar entails a central protagonist's companion of a diminutive stature and disproportionate aural receptors, hitherto a dweller of an ethereal kingdom that also is native to creatures whose chosen domicile is beneath a construction of timbers designed to facilitate the traversing of a waterway by a sojournering family of the genus capra, which would be worthy of further contemplation if it were not such a clumsily placed contrivance of no specific relevance to the lyric-anatomisation process. Needless to say subsequent derivations are an inevitable consequence and not necessarily constrained within the dictum of academic stricture normally found in such torpid establishments, which is a sufficient means of conveying the central idiomatic notionalisation that it is encompassing a considerable quantity of the encrsuting guanofication of line one, verse one. |
Uncanny, that's what I was going to say. |
Word for word, me too.
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"I've fallen off my chair, Brian."
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Tubes
Forum Groupie
Joined: March 28 2013
Location: Iowa
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Posted: May 01 2013 at 20:49 |
@Dean That joke makes about as much sense as having a chick in your profile pic, ya' cross-eyed-mary.
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Dean
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Joined: May 13 2007
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Posted: May 02 2013 at 01:22 |
Tubes wrote:
@Dean That joke makes about as much sense as having a chick in your profile pic, ya' cross-eyed-mary. |
The current evidence suggest that both served their intended purpose adequately.
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What?
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someone_else
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Posted: May 02 2013 at 03:36 |
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Dean
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Posted: May 02 2013 at 03:58 |
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What?
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chopper
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Posted: May 02 2013 at 04:32 |
Still waiting for Tubes' interpretation...
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Dean
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Posted: May 02 2013 at 05:06 |
Still waiting for Tubes to edit his Octopus review as instructed...
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What?
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Tom Ozric
Prog Reviewer
Joined: September 03 2005
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Posted: May 02 2013 at 05:51 |
Dean wrote:
Still waiting for Tubes to edit his Octopus review as instructed... |
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Snow Dog
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Posted: May 02 2013 at 05:54 |
I've read his interpretation of other lyrics so this should be a laugh.
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M27Barney
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Posted: May 02 2013 at 07:18 |
I have had a re-think - clearly - Collins was actually aware of his current wife's predilection for painter & decorators - the pigeons reference is in fact alluding to the fact that if the P & D has been whitewashing your flat whilst simultaneously whitewashing your mrs with his man-paste.....The associative mental image will reflected everywhere the Pigeons have "decorated" the landscape.....
Edited by M27Barney - May 02 2013 at 07:20
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