Get out And Stay Out

[Rich Bogovich <bogie@itis.com>]

Yellow wrote:

>My close friend and near neighbor Rich Bogovich wrote:
>
>>1.  What is the psychological explanation for why Pete sometimes 
>>chooses titles that aren't included verbatim in the lyrics?  
>>Another example is "WON'T Get Fooled Again".  Not to mention the 
>>extreme example of "Baba O'Riley"!
>
>This is evidence of Pete's deep rooted insecurity.  He wrote a song 
>in which the phrase "Get out and don't come back no more" is repeated 
>several times, but then he thought, "No, maybe it should be, 'Get out 
>and stay out!'  Or maybe not.  Which is better?  I don't know!  I'm 
>worthless scum!  I hate myself!"  As soon as he stopped crying, he 
>decided to use one phrase in the song and the other in the title.  
>This way he not only avoided making a decision between the two, but 
>also gained the much-needed acceptance of both the "Get out and stay 
>out" and the "Get out and don't come back no more" camps.

Forgive me for overlooking three examples closer to home (i.e., from the
same musical work as "Get Out..."):  "The Punk And The Godfather", "The
Dirty Jobs", and "Helpless Dancer".  I wouldn't be surprised if there's a
technical term for this.

About the rest of your commentary, I will only ask:  Wouldn't Lucy Lawless
have been awfully young to have been the inspiration for "She's a
Sensation"?  Now, "Zelda" is could understand--in fact, "Zelda" is almost an
anagram for "Zealand"!  Coincidence?  I think not!

Shortly thereafter, Mark L. wrote:
 
>> Next:  Analyzing the lyrics to Keith Moon's BEST song, 
>>"Wasp Man"

>It's obviously a deep psychological profile of the Police
>...or at least Sting.

Say, does anyone know exactly when Gordon Sumner started using this 5-letter
pseudonym?  Perhaps Keith's song is what inspired Gordon to choose it!

Rich B.