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I’ve never noticed that before 😉
Three blind mice everywhere
Searching all around for the cat
All over Kingston town pitter pat
They got the carving knife
To cut the pussycat's life
The puss will get the knife for triflin
with three blind mice
Since we're reading so much into lyrics, I'm thinking the demise of that cat Bond was predicted as far back as Dr. No.
I always wanted to know what happened to him. Station agent somewhere?
I have been pondering on writing fanfics set between QOS and SF and have Villiers featured in some capacity. Maybe in CR, he was too much of a comic relief character (as far as one could be, given the movie that was CR), to suffer a tragic end in subsequent films anyway?
He died in QOS.. Greene showing his death body to Camile
This moment in CR predict his and Bond death, when look to death Solange. Something you can look back to after there death, like you know Felix is seen at start of Spectre.
It are Bond take his sun glaces of as moment not being Blind, take a good look you are next.
Throwing ''Sand In The Eyes'', i think there also foreshadowed what wil happen after NTTD.
Villiers had enough of M whinging about Bond and then seeing the (grand total in pounds) collateral damage caused by Bond.
I think you are misinterpreting the song.
The title is "You Know My Name" and it's sung in the first person
In the lyrics Chris Cornell is James Bond and he is singing to every Bond villain, i.e is the villain willing to die, which is what Cornell implies will happen if he chooses to mess with Cornell-Bond.
Wikipedia says
Cornell said, "It is difficult, I think, to write lyrics for a character, so really I just kind of wandered around for about a month not thinking about it too much, until I sort of formulated some idea of a way that I could approach it, where I'm kind of relating to what's in the character in the movie. And because this particular Bond is very edgy, but also has a lot of emotional depth, it's a lot easier."
The lyrics try to illustrate Bond's psyche in Casino Royale, described by Cornell as a conflicted and tough spy with more emotional depth, not the "superconfident, seemingly invincible, winking kinda ladies' man superspy" of the previous incarnations.[12] Cornell tried to focus on the existential dilemmas and possible sacrifices of secret agents: "There's an isolation in that; the stakes are very high. I've done a lot of living in my 42 years, and it wasn't hard for me to relate to that."[14] The song was also an introduction to the character, even though he has been in many previous movies—hence the title "You Know My Name"—dealing with Bond's actions such as his first assassination, "introducing himself to what may be the rest of his life and how he will live it and what it will mean."
Cornell did not put the film's title in the lyrics, because he "couldn't imagine it fitting into a song lyric that would come out of my mouth". And he jokingly stated "Casino Royale didn't make a good rock title, but I would write a song named "Octopussy" just for fun".
Yeah I take that theme song "You Know My Name" differently @Seve for what it's worth. Maybe or maybe not in line with Chris Cornell's description.
To me it's in the vein of The Rolling Stones and "Sympathy for the Devil", with the singer lashing out and taunting the listener. For CR, could be the Devil himself or even M giving harsh warning for the dirty existence being 007 involves a person in.
So I see the song as the villain (or the Devil or even M) initiating Bond into the role of a Double-O and the dirty world that involves. The lyrics and especially "are you willing to die" relate to Bond's state during the torture by Le Chiffre. He was willing to die, as his duty. Then complicated by the lesson he learned as the big picture and surviving the experience. And that works gangbusters for me.
Lol, well if you are going to disagree with the guy who wrote the song...
There's nothing more to be said
And yes, it is in the vein of "Sympathy For The Devil", which is written from the point of view of Satan, with Jagger singing as Lucifer.
"Sympathy for the Devil" is credited to Jagger and Richards, though the song was largely a Jagger composition.
The working title of the song was "The Devil Is My Name", having earlier been called "Fallen Angels". Jagger sings in first person narrative as the Devil, who boasts of his role in each of several historical atrocities and repeatedly asks the listener to "guess my name."
... just call me Lucifer (whoo-hoo, whoo-hoo)
The 'you know my name' line is redirecting us I think to a deeper vantage point of the song, its from Bond ultimately, all of it in essence, with the more thematic and situational stuff sitting on top. IE what Richard the Bruce was referring to.
Have you noticed that each song of the 5 in sequence gets slower. The tempo keeps dropping with each film, and then of course Bond is dead. That conscious decision line means that the story arc of Bond coming to a dead stop is reflected even in the tempo decision. Thats no fluke. Thats deliberate, its there to see.
Really good creative artists (and that obviously includes Broccoli) encourage the viewer or listener to expand their personal horizons, but that can't happen if everything is spelled out all the time!
The songs are definitely worth a good scrutiny. Over and out.....
How anyone can argue against the artists explanation of his own work is beyond me...
But this one did
Interesting theory
Yes, I have been increasingly dismayed by the slow, mopey, whiny, self pitying nature of recent Bond themes
I'm not sure I can detect that Sam Smith's song is faster that Billy Eilish's (hang on I'll listen to them again now... no they are much the same tempo)
Adele's may be ever so slightly slightly faster, but they are all slow ballads. The way I read it, they wanted to go the torch song route with Amy Winehouse, however that didn't work out, but the next time they got what they wanted from Adele and have been following that path ever since. I think they've over played that card, but the money (and Oscars) have kept rolling in, so what do I know
Many artists accept that the audience may interpret their work differently to what they intended and either laugh it off or are just happy that their work has touched someone and given them pleasure or brought them solace etc
Others don't, "good creative artists" come in all shades and stripes, just like other people
Whatever the song means to you personally, or Richard the Bruce, is fine, but I don't think you should try to assert that your interpretation is "correct" and the actual author has somehow misunderstood his own work.
Live and Let Die and Nobody Does It Better didn't have to borrow from the Bond theme to be great songs.
It actually started with YKMN.
And when you say most of them do it, where is it in YKMN, AWTD, or WOTW? Because I can’t spot it.
The opening riff of YKMN and AWTD is based on the same chord progression as the Bond theme. I like it tho, it's not an issue for me as it is for echo.
No idea about WOTW.
Yes, I guess it's a matter of degree, no harm in the song reminding us that this is a Bond movie, but the song should also bring some new elements to the table
If the melody relys to heavily on the Bond theme alone for it's melodic hook then it can become a problem
For example, if we weren't already familiar with the famous chord progression Beethoven's 5th, and someone played it for us for the first time, we might well consider that it would be suitable for use in James Bond, because of the heavy drama it evokes, in the same way that McCartney's "Live & Let Die" does at it's chorus, but neither is a copy of the Monty Norman / John Barry Bond theme.
When has this ever happened?