Kristy
07-15-2013, 11:49 AM
I was high (as usual) listening to Eric Clapton's fifth solo studio album 'Slowhand.' While a rather dull and mundane recording one would expect by God, Slowhand is really a case study in abusive aging male behavior. I give a synopsis of Eric's psychological character in even more dull psychobabble/feminist terms which are more than self-evident. Please note I only did side one of 'Slowhand' because I'm too stoned and/or too apathetic to do side two. Like any of you give a fuck.
http://upload.wikimedia.org/wikipedia/en/e/e7/EricClapton-Slowhand.jpg
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1978 was the age of disco, punk, and the birth of new wave. Clapton starts of 'Slowhand' by stating he and his generation were aging and no longer part of the current [I]cultura animi. In their mid-30’s they were already considered as being dinosaurs and the only people still listening to his output were hippies; the only commonalty to be found here was the drug culture of the times and cocaine (written by J.J. Cale) originally spoke of the self-destructive behaviors by using such a drug only bring. However, in Clapton’s case, this song was a reaction to the absence of fame believing that snorting would make him look “kwel” among his younger musical pers. Eric knew full well the majority of his early 70’s recordings were boring and shit. Yet he continued to make more.
Wonderful Tonight
The burden(s) of being an international rock star with a trophy wife. Wonderful Tonight isn’t so much a love song as it is a personal snapshot of the banality of his marriage. My guess is Wonderful Tonight was written in the absence of sex which led to a latent conviction of overwhelming guilt such as:
1. Efforts to remove or expel that Clapton’s wife (ex-Beatle Patty Boyd) was one god damn ugly woman out of his consciousness and that divorce would mean more than half his rock ’n’ roll empire crumbling before him.
2. Expiation of when Eric used to fuck groupies back in his Cream days.
With Wonderful Tonight Clapton falls into a typical middle age crisis and develops a behavior that resents an altruistic retreat from external directed anger that “nailing” the wife of a Beatle was not such a great idea after all and now only gives a concretized or explicitly replies to a piece of pussy that is long past her sexual prime and covers her own shame with loads of mascara.
Lay Down Sally
While it is no secret that men of Clapton’s age at the time of recording ‘Slowhand’ tend to get rather horny before their prostate, and low testosterone levels start to takeover. My best guess is “Sally” is a euphemism for when Eric gets hard and in this tune, Eric sounds depressed, desperately frightened that his current relationship with butt-ugly Patty is no longer sustaining his self-serving sexual credibility. Here, Clapton speaks of a one night stand with a much younger woman possibly a groupie but more like a hired escort/whore. Of course the sex is boring. The whole god damn song is boring.
Next Time You See Her
Here Clapton shifts gears from the sensitive to the whole male machismo paradigm. Next Time You See Her is really a song for rednecks and cretins who let petty jealously dictate their behavior. Interpersonal functions break down and the self-destructive once more becomes known.
”And if you see her again, I will surely kill you.”
(textbook synopsis)
1. Anger, designed to hurt or frustrate another.
2. Desperation, designed to gain attention of the other male monkeys in the social clique that murder is the only option when talking to his girl.
Next Time You See Her is really a cry for help. Manipulative homicidal gestures and threats also devalue the relationship and Eric here really could benefit from some fucking therapy. Fights and promiscuity, often assisted by the use of drugs and alcohol seems to be commonplace in Eric’s life.
We’re All The Way
This tune is probably the most manipulative of all. Eric goes from anger and despair to employing an act in a more purely underhanded manner. As noted, his interpersonal relationships are clearly self-destructive bit now he rationalizes them.
So don't put words between us we shouldn't say, and don't be acting halfway when you know we're all the way.”
Eric only wants for his piece of pussy to submit to his whims in the whole “it’s my way or the highway” adage. Clapton says his loves “da Blooz” and now I know why. The intolerance of being alone is the central affective experience to many of his songs and when rage leads to panic, a new behavior is engaged of dissociative nihilistic fears that pretty much sum up all of side one. These fears predominate on side two.
Stay tuned. Not.
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http://upload.wikimedia.org/wikipedia/en/e/e7/EricClapton-Slowhand.jpg
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1978 was the age of disco, punk, and the birth of new wave. Clapton starts of 'Slowhand' by stating he and his generation were aging and no longer part of the current [I]cultura animi. In their mid-30’s they were already considered as being dinosaurs and the only people still listening to his output were hippies; the only commonalty to be found here was the drug culture of the times and cocaine (written by J.J. Cale) originally spoke of the self-destructive behaviors by using such a drug only bring. However, in Clapton’s case, this song was a reaction to the absence of fame believing that snorting would make him look “kwel” among his younger musical pers. Eric knew full well the majority of his early 70’s recordings were boring and shit. Yet he continued to make more.
Wonderful Tonight
The burden(s) of being an international rock star with a trophy wife. Wonderful Tonight isn’t so much a love song as it is a personal snapshot of the banality of his marriage. My guess is Wonderful Tonight was written in the absence of sex which led to a latent conviction of overwhelming guilt such as:
1. Efforts to remove or expel that Clapton’s wife (ex-Beatle Patty Boyd) was one god damn ugly woman out of his consciousness and that divorce would mean more than half his rock ’n’ roll empire crumbling before him.
2. Expiation of when Eric used to fuck groupies back in his Cream days.
With Wonderful Tonight Clapton falls into a typical middle age crisis and develops a behavior that resents an altruistic retreat from external directed anger that “nailing” the wife of a Beatle was not such a great idea after all and now only gives a concretized or explicitly replies to a piece of pussy that is long past her sexual prime and covers her own shame with loads of mascara.
Lay Down Sally
While it is no secret that men of Clapton’s age at the time of recording ‘Slowhand’ tend to get rather horny before their prostate, and low testosterone levels start to takeover. My best guess is “Sally” is a euphemism for when Eric gets hard and in this tune, Eric sounds depressed, desperately frightened that his current relationship with butt-ugly Patty is no longer sustaining his self-serving sexual credibility. Here, Clapton speaks of a one night stand with a much younger woman possibly a groupie but more like a hired escort/whore. Of course the sex is boring. The whole god damn song is boring.
Next Time You See Her
Here Clapton shifts gears from the sensitive to the whole male machismo paradigm. Next Time You See Her is really a song for rednecks and cretins who let petty jealously dictate their behavior. Interpersonal functions break down and the self-destructive once more becomes known.
”And if you see her again, I will surely kill you.”
(textbook synopsis)
1. Anger, designed to hurt or frustrate another.
2. Desperation, designed to gain attention of the other male monkeys in the social clique that murder is the only option when talking to his girl.
Next Time You See Her is really a cry for help. Manipulative homicidal gestures and threats also devalue the relationship and Eric here really could benefit from some fucking therapy. Fights and promiscuity, often assisted by the use of drugs and alcohol seems to be commonplace in Eric’s life.
We’re All The Way
This tune is probably the most manipulative of all. Eric goes from anger and despair to employing an act in a more purely underhanded manner. As noted, his interpersonal relationships are clearly self-destructive bit now he rationalizes them.
So don't put words between us we shouldn't say, and don't be acting halfway when you know we're all the way.”
Eric only wants for his piece of pussy to submit to his whims in the whole “it’s my way or the highway” adage. Clapton says his loves “da Blooz” and now I know why. The intolerance of being alone is the central affective experience to many of his songs and when rage leads to panic, a new behavior is engaged of dissociative nihilistic fears that pretty much sum up all of side one. These fears predominate on side two.
Stay tuned. Not.
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