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Joined: June 23 2005
Location: The Tardis
Status: Offline
Points: 8543
Posted: May 02 2013 at 09:10
M27Barney wrote:
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.....
Except those were Banks' lyrics.
I can understand your anger at me, but what did the horse I rode in on ever do to you?
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 a<SPAN>nthropomorphism</SPAN> 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 gestaltschadenfreude 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.
Well, no grey areas here. This response is as detailed and politically motivaiting as YES's TALES FROM THE TOPOGRAPHIC OCEANS. Dean, you have the floor. TUBES.....your response please!
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.....
Except those were Banks' lyrics.
Aye - But Collins dictated them......from his worst nightmares....
Joined: January 03 2010
Location: NE PA
Status: Offline
Points: 6469
Posted: May 02 2013 at 12:11
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 gestaltschadenfreude 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.
As my daughter would say, that response was "epic".
Nope he's just applied the "post modernist" response - - basically garbage made to look like an erudite argument - which of course he meant to do as a piss take of post modernist clap-trap.....
Joined: May 13 2007
Location: Europe
Status: Offline
Points: 37575
Posted: May 02 2013 at 12:27
M27Barney wrote:
Nope he's just applied the "post modernist" response - - basically garbage made to look like an erudite argument - which of course he meant to do as a piss take of post modernist clap-trap.....
Nope. Every sentence has a specific and direct meaning that I have shrouded in pseudo-intellectual garbage to make it look like clap-trap (I fear I do not fully understand post-modernism enough to say whether I intended to produce post modernist clap-trap or not, and resemblance to post-modernist clap-trap is entirely coincidental). It is designed to make sense when closely examined because I am not sufficiently skilled in composing that quantity of meaningless garbage without having an actual argument to hang it on. I could give a phrase-by-phrase break-down analysis but that would defeat one of the many objects of the exercise.
Joined: May 13 2007
Location: Europe
Status: Offline
Points: 37575
Posted: May 02 2013 at 13:27
progbethyname wrote:
Guys I'm a moron, sorry. I just need to know what album or live album is this GENESIS 'Pigeons' on? I have not heard this song
It was recorded during the Wind and Wuthering sessions and released in 1977 as a 7" vinyl EP entitled Spot The Pigeon, along with two other tracks: Match Of The Day and Inside and Out. Its first CD release wasn't until 2000 as part of the Archive 2 box set.
/edit: Just swotted up on Wikipedia to check my facts and I think they made an error in the following explanation of the EP title:
The title is a variation on the football-themed spot the ball (the cover resembles a spot the ball competition photo), replacing the word "ball" with "pigeon" so that the title links the themes of the first two songs.
That alone is insuffcient - the title is a double-pun since simply replacing "ball" with "pigeon" is meainingless. The title is also a pun on "Stop The Pigeon" the colloqual title and theme song to the H&B cartoon Dastardly and Muttley.
Joined: March 23 2005
Location: Caerdydd
Status: Offline
Points: 32995
Posted: May 02 2013 at 13:41
Dean wrote:
progbethyname wrote:
Guys I'm a moron, sorry. I just need to know what album or live album is this GENESIS 'Pigeons' on? I have not heard this song
It was recorded during the Wind and Wuthering sessions and released in 1977 as a 7" vinyl EP entitled Spot The Pigeon, along with two other tracks: Match Of The Day and Inside and Out. Its first CD release wasn't until 2000 as part of the Archive 2 box set.
/edit: Just swotted up on Wikipedia to check my facts and I think they made an error in the following explanation of the EP title:
The title is a variation on the football-themed spot the ball (the cover resembles a spot the ball competition photo), replacing the word "ball" with "pigeon" so that the title links the themes of the first two songs.
That alone is insuffcient - the title is a double-pun since simply replacing "ball" with "pigeon" is meainingless. The title is also a pun on "Stop The Pigeon" the colloqual title and theme song to the H&B cartoon Dastardly and Muttley.
I agree with Wiki on this one. I have never thought there was any reference to "Catch" the Pigeon.
Joined: May 13 2007
Location: Europe
Status: Offline
Points: 37575
Posted: May 02 2013 at 13:43
fair enough. The cartoon song repeats "stop the pigeon", not "catch the pigeon", but unless the guys from Genesis pop in here and tell us one way or the other I'm happy with both.
Guys I'm a moron, sorry. I just need to know what album or live album is this GENESIS 'Pigeons' on? I have not heard this song
It was recorded during the Wind and Wuthering sessions and released in 1977 as a 7" vinyl EP entitled Spot The Pigeon, along with two other tracks: Match Of The Day and Inside and Out. Its first CD release wasn't until 2000 as part of the Archive 2 box set.
/edit: Just swotted up on Wikipedia to check my facts and I think they made an error in the following explanation of the EP title:
That alone is insuffcient - the title is a double-pun since simply replacing "ball" with "pigeon" is meainingless. The title is also a pun on "Stop The Pigeon" the colloqual title and theme song to the H&B cartoon Dastardly and Muttley.
I agree with Wiki on this one. I have never thought there was any reference to "Catch" the Pigeon.
Joined: March 30 2008
Location: Pittsburgh, PA
Status: Offline
Points: 3841
Posted: May 02 2013 at 13:59
I kind of liked 'Match of the Day' the first time I heard it, for the first ten seconds . . . and then it morphed into "Kung Foo Fighting" and it kind of lost the magic for me.
-------someone please tell him to delete this line, he looks like a noob-------
I don't have an unnatural obsession with Disney Princesses, I have a fourteen year old daughter and coping mechanisms.
Thank you very much Sir Dean!! Match of the day could belong on the ABACAB album!! Wow. Demo sessions? Sheesh they wanted to go commercial with that one.
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