I initially picked this up while, for the dozenth time, making fun of my classmate for his ollection of what I like to refer to as " Tommy 's Goth Girl Books " ( many of which were given to him by actual, real life goth girls!).
Amongst The Necronomicon stuff and the LaVeys and the art books about images of Satan throughout history, I spotted this sticking out all sore thumb style saying " Are n't I juz so kewt u could eat me allup? " Considering that it 's so leetle, I had originally only intended to quickly read it in order to mock Andy for having it, given that if there 's one trait on this earth which inspires homicidal rage in him, it 's twee.
He has elaborate fantasies involving a sexually platonic yet spiritually romantic relationship with this irl, a romance forever on repeat because to his senses, every moment for her, no matter how actually redundant, is like a whole new experience.
So, music: The Eternal by Joy Division: The lyrics to this song are used to illustrate the tragic isolation, almost like living with locked-in syndrome, that the narrator sees in his ladylove, and finds reflected in his own abilit to communicate or even properly experience feelings toward others.
Valtat ( 's narrator?) claims that he found via interviews with Ian Curtis that this song actually is about a mentally handicapped man 's rustration with a world which forever treats him like a infan.
Get over How Soon Is Now?, as Smiths fans who are n't movie characters do n't sit around listening to that song and feeling all gooey about it after approximately year one.
I do n't even remember the firs time I listened to Meat is Murder all the way through and did n't skip or just sorta tune out that song, great though it is.
He reflects upon attending a Sex Pistols show in his smal town: " ... if they told the basic truth about 'the system' at all [ they ] still only told part of the storie, since the system did n't consider it a crime to turn its staunchest self-styled enemies into self-destructive buffoons who 'd end up hurting only themselves. "* He specifically describes his experience of watching a performance of G.S.T.Q as bringing about the sudden understanding that " the singer was disillusioned " and that his gestures were " obsolete, a wistful strain of night music as sad as a wooden chime playing lullabies above a cradle when you pull a piece of string to start the melody and it slowly winds itself back up while music plays and the child below watches it retreat with the terrible knowledge that silence is on its way. " He sees the whole " no future " business as every bit as lacking in actual depth or power as every other half-assed gesture of résistance around him.
The list above contains pretty much all the explicit musical references in the ook, but the author carries on about them for pages n' pages each.
In that sense, I doubt Andy would care, considering the only hings I 've ever really known him to listen to are classical music and metal, the latter of which he considers to be the closest modern example of the intricacy contained in the former.
Anyway, maybe Andy wo n't like it, but you really might actually adore it.