@Calhoun90

1 year ago

What a deep song! This song juxtaposes two thought patterns: Pattern A and Pattern B. These patterns reflect the song's structure, which is roughly: Intro A A B B A B B Outro. A is the "Holy Hell" section. It expresses Pattern A: The thinker deliberates whether and how to continue the relationship. B is the "It's Over" section. It expresses Pattern B: The thinker mostly accepts that the relationship is over, and that deliberation is futile. The Outro ends with Pattern B's refrain. It thus suggests that Pattern B wins over Pattern A. Perhaps Patterns A and B embody the thoughts of two different persons, like Kimiko and her manager. But perhaps they embody the conflicting thoughts of a single person, such as the manager himself. The music video more clearly expresses the latter interpretation. Kimiko's manager has found great success and great unhappiness. Maybe he misses Kimiko, but in a deeply ambivalent way. But there's a deeper interpretation. The relationship in question isn't an interpersonal, romantic one. It's instead the relationship between an artist and their art. The manager misses the artistic freedom of anonymity. Instead of making music, he's trapped making commercials. He's unsure whether and how he can return to anonymity. But he must ultimately accept that his anonymity "is over". This story may reflect Mr. Lew himself. Maybe he misses being less well-known, before "Loretta" blew up---a time of less pressure and more artistic freedom. Indeed, the video's end shows relics of Mr. Lew's past projects. We see, for example, the red keyboard from Mahjong Room , the model boat from "Le Château", and the maneki-neko from City Slicker's cab. Just a thought.

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