![king kong king kong](https://cdn11.bigcommerce.com/s-bnr350xzri/images/stencil/590x590/products/40059/79583/SLPTAGRTH17__35498.1585317731.jpg)
After losing his lover, Brian can’t bring himself to address her, and much remains unsaid. After said parties, I’d follow your lead and fuck you hard.ģ. After said parties, I’d follow your lead and mock her. I’d seen her at parties: assertively busty, cosmetically lacquered, flagrantly blonde. A wannabe who imposed upon your time with toady tributes to your poetry. You didn’t use that word, but you implied and I inferred. He uses talk of the woman in the verse to seduce, via titillation, jealousy, aspiration, etc., the choral “you.” If I speak to you of a woman’s ability to knock me out with her American thighs, Brian reasons, you will then want to knock me out with yours. The woman to whom Brian refers in the verse differs from the woman (or man or nonbinary individual) he addresses in the chorus. But is love not a sagging into each other, a softening of edges, an ooze? Was my dirt and languor not yours too?Ģ. True: over time I relaxed a little, cleansed and removed less of myself, slowed down.
![king kong king kong](https://d29ci68ykuu27r.cloudfront.net/items/19431010/cover_images/cover-large_file.png)
Was I not a sufficiently fast machine? Did I not keep my motor clean? I cleansed assiduously for you, removed hairs, performed ablutions. Confronted with his lover’s fast machine and clean motor, Brian can no longer maintain his stance as autonomous male subject gazing upon the Other. The speaker - let’s call him Brian - is documenting the shift, à la Buber, from I-It to I-Thou relations, from subject-object to intersubjectivity.
![king kong king kong](https://cdn11.bigcommerce.com/s-n6h3dlxzq9/images/stencil/1280x1280/products/21372/384615/SLPTVNYL6504__38132.1610648883.jpg)
Theories of the Point-of-View Shift in AC/DC’s ‘You Shook Me All Night Long’ġ. The Commuter Subscribe Strange, short, and diverting writing delivered to your inbox every Monday.