Imaginary Places Busdriver Download Mp3
Lillia Iniguez
The song "Imaginary Places" by Busdriver is a deeply personal exploration of life and death, and finding solace in dark moments. The song speaks to living life to the fullest and finding hope in the unknown, expressing that there can still be beauty and joy in the midst of tragedy. The narrator is there to hold the listener's hand in times of death, to help them find comfort in "imaginary places" he creates within their minds. He also speaks to the various pressures one might face in life, from religious and social expectations to being watched and judged, encouraging the listener to embrace their own individuality. The song is a call to arm to find joy in the little moments and to cherish the time we have, even if we find ourselves in an "imaginary place".
"Im just here to hold your hand till you dieAnd to show you around imaginary placesPut money lumps in my bloody stumpAnd I will have a smile thats a perfect circleDie in your sleep with the sky at your feetIm shoot you when youre happy, only then will you find peaceHow do you do, I dont know Im okayEvery person I know is a secret service agentBecause Ive been accused of lewd conductStole the heart of a prude prom slutAnd they got the warrant for my arrest to put me in the loony bin, the funny farmCuz of what I did
Im just here to hold your hand when you dieIts like I put a cough drop right upon your soft spotMake Martian clothes out of your garden hoseTurn into a deadly gas blown through the air ductShes not in love but I thought that she wasShe doesnt love me because I dont have the right haircutI misunderstood I should fix under the hoodBut I will not apologize for anything that Ive saidMy name is Mr. Busdriver, this is the producer ParisWe are not embarrassed to admit that we will perish in a pit of our own imaginary place"
and also"im just here to hold your hand when you die and show you around imaginary places"is about his mother and his guilt forcing him to spend the last few days with his father,which he spent arguing with him around religion
From what I can tell, the "imaginary places" that people are "buying real estate" in is Heaven. And I think that maybe he actually says "H-I-M know how I hate Him so", "Him" being God; if this is true, then it would make sense of the next line: "but He charged me for a halo". Again, the "He" is God, and God is being accused of asking too much of Busdriver for admittance into Heaven. Notice that Busdriver mentions on numerous occasions that he feels he is under constant surveillance: God or "evil Christians" are "spying" on him, ready to "judge". And when he talks about "informative pamphlets" and people that are "just here to hold your hand when you die" it could be that he is referring to Christians who attempt to convert those in their death beds.
Im just here to hold your hand when you die
And to show you around imaginary places
Puttin many lumps on my bloody stump
Edible habits so i bit the perfect circle
Die in your sleep with the sky at your feet
Ill shoot you when your happy on the day that you will find peace
How did you do it, i dont know, im ok
Every person i know is a secret sorta agent
Cuz im accused of lewd conducts
My name is mr busdriver
This is the producer paris
We did not embarass to admit that we were purchasing a bit
Of our own imaginary place
Kids.. if you want to piss off your parents
Show interest in the arts
Kids.. if you really want to piss off your parents
Buy real estate in an imaginary place.. oh yes
This blurring is expressed cinematically through the relationship between Nicole's voice on the soundtrack and images of her body on the visual track. For the viewer of The Sweet Hereafter to understand this dynamic, the work of feminist film theorist Kaja Silverman becomes very useful, though the film also suggests important modifications to her theories. In The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema, Silverman expresses some surprise at "the fetishistic value which a surprising number of film theoreticians have conferred upon the voice.... When the voice is identified in this way with presence, it is given the imaginary power to place not only sounds but meaning in the here and now. In other words, it is understood as closing the gap between the signifier and the signified" (43). Here, drawing on Lacan, she refers to the imaginary wholeness the child shares with the mother when it is enveloped in the female voice in the womb, and the lack associated with language when the child enters the symbolic order. 2 But as Silverman points out, sound is really no more "present" in cinema than are images: "what is at stake within cinema's acoustic organization, as within its visual organization, is not the real, but 'an impression of reality'" (44; qtg. Comilli 132). In creating this impression...
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