I mean, I got a lot of flak when I said in an interview once that I don’t want people dancing when I play… And.. Because it was nice to see people (react)… You know, I liked it when it said in reviews – “The audience was just standing there, mesmerized” – But, I didn’t realize it was because “we can’t dance to this fuckin’ shit music!”, you know! – But I was actually quoted out of context. I said I don’t want them to dance with their bodies, I want them to dance with their heads and their hearts as well, you know. And so.. Boy, did I get shit for that! – Boy, I mean.. some of these.. you know – like, in England, I went over there, and – “What is this stuff?, you don’t want people to dance? how can you write songs without dancing?’ – But, you know, music isn’t about that. It’s about rage and sex..(I mean, the sexual part of it is.. you know.. has been covered… to my ideal, so I like to get my sources from rage and, you know, some sense of, like, evoking the audience in some sense of, like, shaking up, or just a sense of fun.. and when the fun part…) I mean, that’s what makes a lyric..
Now I’m for “funny”, and “fun” in lyrics (I’m not for “clever” so much). But.. that was what I was saying before – The cleverness hides too often that heart-quality of it. That”s why I could never.. It took me a long time to get into the Talking Heads until I heard “Life During Wartime” and then I thought, “this fuckin’ guy, you know, you can’t refute this guy – it’s too good a song!” – but, you know, I mean “Psycho Killer” was funny, but it was, like, all those things about, “Well, here’s a building”, and “I eat a sandwich”, and you know, stuff like, that I thought was clever but kind of “art-school clever”, and I didn’t dig it, no matter how good the music was. But I love the Talking Heads now, I should say.
Someone like Laurie Anderson, I’m not too hot on, actually, you know (to say the very least!). But..you know…I’m sure you’re all fans of her and stuff, but… It’s not my favorite..
Okay, let me get on with this here -. “His heart is pounding, he switches channel/ looking for something other than rage or murder/Or beatings or torture but except for Walt Disney/It’s a twisted alliance all this video violence./ The currents rage,the dawn’s upon us/this is the age of video violence/ The currents rage so deep inside us/This is the age of video violence/ Down at his job, his boss sits there screaming/If he loses his job, his life loses its meaning/His son is in high school, there’s nothing he’s learning/He sits by the tv watching Corvettes exploding, because/ The currents rage/the dawn’s inside us/This is the age of video violence./ No age of reason is landing upon us /This is the age of video violence/ Down at the bar some woman is topless/ she’s acned and scarred, her hair’s a mess/While he shoves five dollars down her exotic panties/ the Video jukebox is, ah, playing Madonna/ And just down the corner at the local theater/ they’re grabbing their crotches at the thirteenth beheading/and as the dead rise to live, the live sink to die/The currents are deep and raging inside – ( Holy shit! – the way he switched it around – “The currents are deep and raging inside” – I mean, you know, like, from.. “The currents rage so deep inside’ , it ends with that incredible stanza – “the currents are deep and raging inside’ – just to play on that, that’s amazing) –
[At approximately eighty-five-and-three-quarter minutes in, JC plays Lou Reed’s “Video Violence”, briefly singing along – …Anne Waldman! – “as the dead rise to live, the live sink to die/ – I got those na-na’s… na-na-na”]
[Audio for the above can be heard here, beginning at approximately seventy-five-and-a-quarter minutes in and concluding at the end of the tape]