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A stress balls is a small (usually 7cm in diameter) malleable object used to relieve stress or tension in your muscles or to exercise the hands.

Skirmish has referenced to feeling ridiculously stressed before.

As usual with Rhyme Asylum, they exaggrate the lengths the human pain threshold can take with vivid lyricism. Can you imagine someone literally ripping their eyes out and squeezing them to relieve stress?

Gruesome stuff.

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By now the stinging sense of burden he’s had to deal with due to the murder has reached its climax. He’s contemplating suicide but still seeks redemption and still seeks solace in something.

Let’s examine whether or not someone CAN get into “heaven” (assuming he’s referring to the Christian heaven).

Firstly, is heaven real or not?

Most peoples perception of heaven:

According to this article the Bible doesn’t say anything about eternal life being promised in HEAVEN.

There is no promise of eternal life in Heaven according to these scriptures:

“The God of heaven will set up a kingdom that will never be destroyed, nor will it be left to another people. It will crush all those kingdoms and bring them to an end, but it will itself endure forever.” Daniel 2:44

And:

“You have made them to be a kingdom and priests to serve our God, and they will reign on the earth.” Revelation 5:10

What most people call Heaven is actually an eternal city that God calls the “New Jerusalem”, which will be the eternal home for God’s people. This eternal city is described like this:

“Now the dwelling of God is with men, and he will live with them. They will be his people, and God himself will be with them and be their God. He will wipe every tear from their eyes. There will be no more death or mourning or crying or pain, for the old order of things has passed away.” He who was seated on the throne said, ‘I am making everything new.’“ (Revelation 21:3-5)

As for the suicide part:

Nowhere in the Bible is suicide considered a sin.

It turns out that in the early days of the church, so many wanted to enter the next life that suicide was becoming a hassle to deal with.
Even Paul said, “my desire is to depart and be with Christ, for that is far better” (Phil1:23). It was Aquinas and Augustine that wrote against the idea of suicide, which was then generally adopted by society.

Nowhere in the 10 Commandments does it condemn suicide, as the first 4 commandments specify our actions towards God:

  1. You shall have no other gods before Me.
  2. You shall not make for yourself a carved image.
  3. You shall not take the name of the LORD your God in vain.
  4. Remember the Sabbath day, to keep it holy.

The last six specify our behavior towards other people:

  1. Honor your father and your mother.
  2. You shall not murder.
  3. You shall not commit adultery.
  4. You shall not steal.
  5. You shall not bear false witness against your neighbor.
  6. You shall not covet anything that is your neighbor’s.

In addition to Aquinas and Augustine’s denouncement of suicide, the idea that suicide leads to damnation stems from Catholic dogma. Murder is considered a mortal sin by the Church, meaning that a murderer who dies without having been absolved by a priest will descend into hell. As suicide is the murder of oneself, it would leave no opportunity for absolution and would result in damnation.

The speaker, having heard in his lifetime (but not understood) this concept, is asking if it’s true.

It is important to note that this dogmatic notion is only loosely based on biblical truth and that suicide, as huf stated, is alluded to by Paul even after Jesus spoke to the rich young man (Matthew 9:16-30). The Catholic Church uses these passages as one of their strongest defenses of the concept of mortal sin.

Interestingly, but not surprisingly, the speaker mistakenly links the Christian concepts of salvation and damnation with the Hindu (as well as Buddhist, Sikhist, Toaist, etc.) concept of Karma, asking if his suicide will send him to hell (Catholic), or if killing himself, thus removing what he perceives as evil, will balance his Karmic scale (Hindu et al) and allow him into heaven. This is a shining example of religious pluralism.

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Wildlife is the second studio album by American post-hardcore band La Dispute, released October 4, 2011, on independent label No Sleep Records.

Recording sessions for the album took place primarily at StadiumRed in New York in April 2011. The band members took control of all of the production duties alongside the album’s recording engineers, Andrew Everding and Joseph Pedulla. Wildlife was their last release on No Sleep Records before forming their own record label, Better Living.

Noted by music writers for its varied elements, Wildlife incorporates musical components from La Dispute’s previous releases, particularly Somewhere at the Bottom of the River Between Vega and Altair and Here, Hear III., and genres such as screamo, progressive rock, post-rock, and spoken word.

The album features lyrical themes that – while making several references to the band’s home town of Grand Rapids – focus on personal loss, anger, and despair and, in the vision of the band, is a collection of unpublished “short stories” from a hypothetical author, complete with the author’s notes and sectioned thematically by the use of four monologues.

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When the bones of someones face are showing it’s usually due to malnutrition (generally speaking), the people whose faces the ghost of electricity are howling into could’ve been his then-wife Sara Lownds or a vague reference to his previous relationship with Joan Baez, with the bones symbolising the longing they had for Bob’s presence, a sense of emotional starvation and fatigue, which had been replaced by the giant machine that was now his rock'n'roll lifestyle, with Johanna possibly playing the central symbolic roll as the temptation he was dealing with at the time, or the stress of business, fans and the media. He has no time for them, he’s too busy living and dealing with that erratic lifestyle. The presence of him is still clear in their faces, they still love him, which is why this could be a reference to Sara, because in Sad-Eyed Lady Of The Lowlands, a song widely believed to be about Sara, he references to her “hollow face”.

Bob Dylan and Sara:

Bob Dylan and Joan:

Also, a ghost is something that you cannot see, it paints the bleak sense of the loneliness they felt when he left them. Due to ghosts being things people usually feel more than see it could be Dylan referring to how he has never left them emotionally, and he’s still there with them, “haunting them” so to speak.

Due to ghost’s not being seen it could also be a reference to Dylan’s mythological cult figure status that the media had conjured up about his persona during that time. Dylan would essentially be referring to himself as the “ghost or rock'n'roll.”

Also, ghosts are dead, which could be a reference to his past life as folk musician now being completely over. It could also be a larger reference to the fact that “electric music” is essentially dead to the radical folk musicians that Dylan previously surrounded himself with.

The reaction to Dylan’s rock music

The ghost:

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The Smith’s followed their 1985 sophomore album Meat Is Murder one year later with their critically acclaimed third album The Queen is Dead. Several of the songs were created while the group was on tour in 1985, with Morrissey writing the lyrics and Johnny Marr composing the music. The album’s title was derived from the second part of Hubert Selby Jr.’s 1964 novel Last Exit to Brooklyn, but in his 2013 autobiography, Morrissey suggested that Johnny’s parents were upset by the title and thought they should use “Bigmouth Strikes Again” as the album’s title instead.

The Smiths displayed their brand of “mope rock” on the singles “Bigmouth Strikes Again” and “There is a Light That Never Goes Out,” which helped the album achieve platinum status in the UK and gold status in the US. The Queen is Dead has been highly acclaimed by numerous publications, including a rank of #113 on Rolling Stone’s 500 Greatest Albums of All Time list, named the greatest album of the 1980s by Beats Per Minute, and even named by NME as the greatest album of all time.

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Strangeways, Here We Come is the last album released by The Smiths. The album was recorded at Wood Hall studios in Beckington – allowing for a more relaxed recording process.

Marr insisted on avoiding the usual Smiths formula and sought inspiration from The Beatles' The Beatles (aka the White Album). The result is the band’s most musically rich album.

Marr and Morrissey have stated it’s their favorite Smiths album.

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After signing a production deal with independent record label Rough Trade, the newly-formed indie rock band launched their self-titled debut album in early 1984.

Originally scheduled to be released in late 1983, the release was pushed back due to a change in production and a subsequent re-recording of the entire album. The band had originally selected former The Teardrop Explodes guitarist Troy Tate as the album’s producer, but after a series of talks between the head of the label and producer John Porter, the latter said that the original mix was unsalvageable and offered to re-record the entire album himself.

The album was released to favourable reviews, and was included in multiple lists as one of the greatest albums of the 80’s, most notably taking the #22 spot in Rolling Stone’s greatest albums list for that decade.

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This song (might) allude to something Morrissey has kept ambiguous throughout his life: his sexuality.

Throughout his career in interviews, he has always maintained that he is either celibate or asexual.

This is an excerpt from letters he wrote to a penpal in 1981 that refers to his sexuality slightly:

This says: “Will you send me some pornography? Do you HAVE a girlfriend? Do you LIKE girls? I have a girlfriend called Annalisa. We’re both bisexual. Real hip, huh? I hate sex.”

The song could be referring to the frustration that Morrissey felt with maintaining a “normal” relationship due to everyone questioning his sexuality.

The song could also be about the insecurity and sense of loss that Morrissey felt as a youth. It could be a reference to teenage rebellion, as most teenagers consider their love unlike anyone else’s.

Morrissey is a very witty man and enjoys playing with the way people interpret him. He said himself “I refuse to recognize the terms hetero-, bi-, and homo-sexual. Everybody has exactly the same sexual needs. People are just sexual, the prefix is immaterial.” The fact he never directly states his preference demonstrates well on how he loves to play with uncertainty and he continues to maintain that wit.

Morrissey, however, has stated that the song’s theme was “complete loneliness” and “It was important to me that that there’d be something searingly poetic about it, in a lyrical sense, and yet jubilant at the same time.”

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