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Difference between revisions of "Arena Americanada"
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* A portmanteau of '''arena''', '''America''', '''Canada''' and '''''Americana'''''. The '''arena''' frame is explicitly Roman / martyrological — the Colosseum as the space where the early Christian martyrs were made into spectacle for the state. Returns, via ''[[Inferno]]'', to the American-imperial / spectacle-of-suffering concerns of ''[[Tomorrow's Harvest]]'' ("[[Sick Times]]", "[[Come To Dust]]"). | * A portmanteau of '''arena''', '''America''', '''Canada''' and '''''Americana'''''. The '''arena''' frame is explicitly Roman / martyrological — the Colosseum as the space where the early Christian martyrs were made into spectacle for the state. Returns, via ''[[Inferno]]'', to the American-imperial / spectacle-of-suffering concerns of ''[[Tomorrow's Harvest]]'' ("[[Sick Times]]", "[[Come To Dust]]"). | ||
| − | * Another possible portmanteau is '''Arena''', '''America''', '''nada''', where "nada" is Latin for zero, or nothing/nothingness. The American Arena as a void, or more specifically the entertainment industry as it relates to religious broadcasting being a void, which connects with the imagery seen in Tape 05. | + | * Another possible portmanteau is '''Arena''', '''America''', '''nada''', where "nada" is Latin for zero, or nothing/nothingness. The American Arena as a void, or more specifically the entertainment industry as it relates to religious broadcasting being a void, which connects with the televangelical imagery seen in Tape 05. |
* Simultaneously returns the band to the Canadian-imagined-America motif that defined ''[[Music Has the Right to Children]]'' — the National Film Board of Canada soundtracks of Mike and Marcus's childhood, the "Canada" in the band's name. | * Simultaneously returns the band to the Canadian-imagined-America motif that defined ''[[Music Has the Right to Children]]'' — the National Film Board of Canada soundtracks of Mike and Marcus's childhood, the "Canada" in the band's name. | ||
* The hanging suffix "-ada" (as in ''canada'') doubles the word — ''America-Canada-da-da'' — a small formal-poetic gesture characteristic of BoC titling. | * The hanging suffix "-ada" (as in ''canada'') doubles the word — ''America-Canada-da-da'' — a small formal-poetic gesture characteristic of BoC titling. | ||
Revision as of 06:22, 23 April 2026
| Arena Americanada | |
|---|---|
| Running time | 5:22 |
| Appears on | Inferno |
| Next | {{{next}}} |
| Prev | {{{prev}}} |
Comments
- A portmanteau of arena, America, Canada and Americana. The arena frame is explicitly Roman / martyrological — the Colosseum as the space where the early Christian martyrs were made into spectacle for the state. Returns, via Inferno, to the American-imperial / spectacle-of-suffering concerns of Tomorrow's Harvest ("Sick Times", "Come To Dust").
- Another possible portmanteau is Arena, America, nada, where "nada" is Latin for zero, or nothing/nothingness. The American Arena as a void, or more specifically the entertainment industry as it relates to religious broadcasting being a void, which connects with the televangelical imagery seen in Tape 05.
- Simultaneously returns the band to the Canadian-imagined-America motif that defined Music Has the Right to Children — the National Film Board of Canada soundtracks of Mike and Marcus's childhood, the "Canada" in the band's name.
- The hanging suffix "-ada" (as in canada) doubles the word — America-Canada-da-da — a small formal-poetic gesture characteristic of BoC titling.