http://debianws.lexgopc.com/wiki143/index.php?action=history&feed=atom&title=The_Idiot_%28album%29The Idiot (album) - Revision history2026-05-30T14:34:15ZRevision history for this page on the wikiMediaWiki 1.43.1http://debianws.lexgopc.com/wiki143/index.php?title=The_Idiot_(album)&diff=5570901&oldid=previmported>Zmbro: /* Background */ url is live; limited but live2025-09-29T01:46:07Z<p><span class="autocomment">Background: </span> url is live; limited but live</p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 01:46, 29 September 2025</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Background==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Background==</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>From the late 1960s to the early 1970s, [[Iggy Pop]] was the frontman of the [[proto-punk]] band [[the Stooges]]. He became known for his wild on-stage behavior and helped garner a [[cult following]] for the band. During their tenure, the band had little commercial success and almost all members, including Pop, suffered from drug addictions.<ref>{{cite magazine |last=Hedegaard |first=Erik |title=Iggy Pop's Trail of Destruction |url=https://www.rollingstone.com/music/music-news/iggy-pops-trail-of-destruction-234011/ |magazine=[[Rolling Stone]] |access-date=August 19, 2021 |archive-url=https://web.archive.org/web/20210820000410/https://www.rollingstone.com/music/music-news/iggy-pops-trail-of-destruction-234011/ |archive-date=August 20, 2021 |date=December 11, 2003 |url-status=<del style="font-weight: bold; text-decoration: none;">dead </del>}}</ref><ref>{{cite magazine |last1=Petrusich |first1=Amanda |title=The Survival of Iggy Pop |url=https://www.newyorker.com/magazine/2019/09/02/the-survival-of-iggy-pop |magazine=[[The New Yorker]] |access-date=August 19, 2021 |archive-url=https://web.archive.org/web/20210421203522/https://www.newyorker.com/magazine/2019/09/02/the-survival-of-iggy-pop |archive-date=April 21, 2021 |date=August 26, 2019}}</ref> In 1971, Pop met musician [[David Bowie]] and the two became friends. Bowie was hired to [[Audio mixing (recorded music)|mix]] the band's 1973 album ''[[Raw Power]]''. Soon after its release, the band broke up in 1974 because of infighting, lack of major label support, and Pop's drug addiction,{{sfn|Pegg|2016|p=487}}{{sfn|Trynka|2007|p=152}}{{sfn|Seabrook|2008|pp=75–88}} causing Pop and Bowie to stop collaborating.{{sfn|O'Leary|2019|loc=chap. 1}} After the break-up, Pop recorded tracks with fellow Stooges member [[James Williamson (musician)|James Williamson]], but these were not released until 1977 (as ''[[Kill City]]'', credited jointly to Pop and Williamson).<ref>{{Cite news|url=https://www.theguardian.com/music/2010/mar/11/iggy-and-the-stooges-raw-power|title=The world was not ready for Iggy and the Stooges|last1=Hodgkinson|first1=Will|author-link=Will Hodgkinson|last2=Petridis|first2=Alexis|author-link2=Alexis Petridis|date=March 11, 2010|newspaper=[[The Guardian]]|access-date=February 16, 2018|archive-url=https://web.archive.org/web/20210205094111/https://www.theguardian.com/music/2010/mar/11/iggy-and-the-stooges-raw-power|archive-date=February 5, 2021}}</ref> Pop tried to establish himself as a solo artist and auditioned to join other bands such as [[the Doors]] and [[Kiss (band)|Kiss]], but these ventures were unsuccessful. Realizing his [[heroin]] addiction was destroying him, Pop checked himself into the Neuropsychiatric Institute at the [[University of California, Los Angeles|University of California]] in Los Angeles for help to get sober; Bowie was one of Pop's few visitors during his stay.{{sfn|Pegg|2016|p=487}}{{sfn|Seabrook|2008|pp=75–88}} Pop recalled: "Nobody else came{{nbsp}}... not even my so-called friends in LA. But David came."{{sfn|Trynka|2011|p=282}} Pop and Bowie reunited in mid-1975 and attempted to record a few tracks, but both men were deep into their drug addictions, so the sessions were mostly unproductive. Bowie commented, "He'll never make it to the recording studios in time. Iggy's doomed."{{sfn|Doggett|2012|pp=302–304}}{{sfn|Ambrose|2004|pp=162–164}}</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>From the late 1960s to the early 1970s, [[Iggy Pop]] was the frontman of the [[proto-punk]] band [[the Stooges]]. He became known for his wild on-stage behavior and helped garner a [[cult following]] for the band. During their tenure, the band had little commercial success and almost all members, including Pop, suffered from drug addictions.<ref>{{cite magazine |last=Hedegaard |first=Erik |title=Iggy Pop's Trail of Destruction |url=https://www.rollingstone.com/music/music-news/iggy-pops-trail-of-destruction-234011/ |magazine=[[Rolling Stone]] |access-date=August 19, 2021 |archive-url=https://web.archive.org/web/20210820000410/https://www.rollingstone.com/music/music-news/iggy-pops-trail-of-destruction-234011/ |archive-date=August 20, 2021 |date=December 11, 2003 |url-status=<ins style="font-weight: bold; text-decoration: none;">live |url-access=limited</ins>}}</ref><ref>{{cite magazine |last1=Petrusich |first1=Amanda |title=The Survival of Iggy Pop |url=https://www.newyorker.com/magazine/2019/09/02/the-survival-of-iggy-pop |magazine=[[The New Yorker]] |access-date=August 19, 2021 |archive-url=https://web.archive.org/web/20210421203522/https://www.newyorker.com/magazine/2019/09/02/the-survival-of-iggy-pop |archive-date=April 21, 2021 |date=August 26, 2019}}</ref> In 1971, Pop met musician [[David Bowie]] and the two became friends. Bowie was hired to [[Audio mixing (recorded music)|mix]] the band's 1973 album ''[[Raw Power]]''. Soon after its release, the band broke up in 1974 because of infighting, lack of major label support, and Pop's drug addiction,{{sfn|Pegg|2016|p=487}}{{sfn|Trynka|2007|p=152}}{{sfn|Seabrook|2008|pp=75–88}} causing Pop and Bowie to stop collaborating.{{sfn|O'Leary|2019|loc=chap. 1}} After the break-up, Pop recorded tracks with fellow Stooges member [[James Williamson (musician)|James Williamson]], but these were not released until 1977 (as ''[[Kill City]]'', credited jointly to Pop and Williamson).<ref>{{Cite news|url=https://www.theguardian.com/music/2010/mar/11/iggy-and-the-stooges-raw-power|title=The world was not ready for Iggy and the Stooges|last1=Hodgkinson|first1=Will|author-link=Will Hodgkinson|last2=Petridis|first2=Alexis|author-link2=Alexis Petridis|date=March 11, 2010|newspaper=[[The Guardian]]|access-date=February 16, 2018|archive-url=https://web.archive.org/web/20210205094111/https://www.theguardian.com/music/2010/mar/11/iggy-and-the-stooges-raw-power|archive-date=February 5, 2021}}</ref> Pop tried to establish himself as a solo artist and auditioned to join other bands such as [[the Doors]] and [[Kiss (band)|Kiss]], but these ventures were unsuccessful. Realizing his [[heroin]] addiction was destroying him, Pop checked himself into the Neuropsychiatric Institute at the [[University of California, Los Angeles|University of California]] in Los Angeles for help to get sober; Bowie was one of Pop's few visitors during his stay.{{sfn|Pegg|2016|p=487}}{{sfn|Seabrook|2008|pp=75–88}} Pop recalled: "Nobody else came{{nbsp}}... not even my so-called friends in LA. But David came."{{sfn|Trynka|2011|p=282}} Pop and Bowie reunited in mid-1975 and attempted to record a few tracks, but both men were deep into their drug addictions, so the sessions were mostly unproductive. Bowie commented, "He'll never make it to the recording studios in time. Iggy's doomed."{{sfn|Doggett|2012|pp=302–304}}{{sfn|Ambrose|2004|pp=162–164}}</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Pop's stints in rehab in 1974 and 1976 were unsuccessful, and Bowie's biographer, Thomas Jerome Seabrook, described Pop as reaching his "lowest point" in 1976. Knowing he had to become sober, Pop accepted an invitation to join Bowie on his [[Isolar – 1976 Tour|1976 Isolar Tour]]. By this point, Bowie also wanted to rid himself of his drug addiction.{{sfn|Seabrook|2008|pp=75–88}} During the tour, Pop was impressed with Bowie's work ethic, later stating that he learned all of his self-help techniques through Bowie on the tour. There were further talks of Pop recording a solo album with Bowie as producer. Bowie and the guitarist [[Carlos Alomar]] had written a new song, "Sister Midnight", and offered it to Pop; Bowie occasionally performed it live on the tour.{{sfn|Seabrook|2008|pp=75–88}}{{sfn|O'Leary|2019|loc=chap. 1}} Toward the end of the tour, both Bowie and Pop knew they wanted to avoid the drug culture of Los Angeles, and decided to move to Europe. At its conclusion, Bowie was initially keen to produce "Sister Midnight" in [[Munich]], Germany, for release as a [[Single (music)|single]]. After visiting the [[Château d'Hérouville]] in [[Hérouville-en-Vexin|Hérouville]], France, the same place Bowie recorded his 1973 album ''[[Pin Ups]]'', he instead decided to produce an entire album for Pop there.{{sfn|Seabrook|2008|pp=75–88}}{{sfn|O'Leary|2019|loc=chap. 1}} Bowie booked two months of studio time at the château for later in the summer of 1976.{{sfn|Seabrook|2008|pp=75–88}}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Pop's stints in rehab in 1974 and 1976 were unsuccessful, and Bowie's biographer, Thomas Jerome Seabrook, described Pop as reaching his "lowest point" in 1976. Knowing he had to become sober, Pop accepted an invitation to join Bowie on his [[Isolar – 1976 Tour|1976 Isolar Tour]]. By this point, Bowie also wanted to rid himself of his drug addiction.{{sfn|Seabrook|2008|pp=75–88}} During the tour, Pop was impressed with Bowie's work ethic, later stating that he learned all of his self-help techniques through Bowie on the tour. There were further talks of Pop recording a solo album with Bowie as producer. Bowie and the guitarist [[Carlos Alomar]] had written a new song, "Sister Midnight", and offered it to Pop; Bowie occasionally performed it live on the tour.{{sfn|Seabrook|2008|pp=75–88}}{{sfn|O'Leary|2019|loc=chap. 1}} Toward the end of the tour, both Bowie and Pop knew they wanted to avoid the drug culture of Los Angeles, and decided to move to Europe. At its conclusion, Bowie was initially keen to produce "Sister Midnight" in [[Munich]], Germany, for release as a [[Single (music)|single]]. After visiting the [[Château d'Hérouville]] in [[Hérouville-en-Vexin|Hérouville]], France, the same place Bowie recorded his 1973 album ''[[Pin Ups]]'', he instead decided to produce an entire album for Pop there.{{sfn|Seabrook|2008|pp=75–88}}{{sfn|O'Leary|2019|loc=chap. 1}} Bowie booked two months of studio time at the château for later in the summer of 1976.{{sfn|Seabrook|2008|pp=75–88}}</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|description=Bowie composed the music to "Nightclubbing", which exhibits an influence of [[Krautrock]], a genre Bowie would further experiment with on ''Low''.{{sfn|O'Leary|2019|loc=chap. 1}}{{sfn|Pegg|2016|p=198}} Pop's lyrics reflect him hanging out with Bowie "every night", further displaying Bowie's influence on the record.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|description=Bowie composed the music to "Nightclubbing", which exhibits an influence of [[Krautrock]], a genre Bowie would further experiment with on ''Low''.{{sfn|O'Leary|2019|loc=chap. 1}}{{sfn|Pegg|2016|p=198}} Pop's lyrics reflect him hanging out with Bowie "every night", further displaying Bowie's influence on the record.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|pos=right}}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|pos=right}}</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>"Sister Midnight" is similar to the [[funk]] style of Bowie's tracks "Fame" and "[[Stay (David Bowie song)|Stay]]", described by Seabrook and O'Leary as the song most representative of Bowie's pre-Berlin period.{{sfn|O'Leary|2019|loc=chap. 1}}{{sfn|Seabrook|2008|pp=89–95}}{{sfn|Pegg|2016|p=245}} Its lack of overtly electronic instrumentation belied what the critic [[Dave Thompson (author)|Dave Thompson]] described as a "defiantly futuristic ambience".<ref name="Thompson">{{cite web|url=http://www.allmusic.com/song/sister-midnight-mt0010705960|title="Sister Midnight" – Iggy Pop|publisher=AllMusic|access-date=December 8, 2014|last=Thompson|first=Dave|author-link=Dave Thompson (author)|archive-url=https://web.archive.org/web/20140807035119/http://www.allmusic.com/song/sister-midnight-mt0010705960|archive-date=August 7, 2014|url-status=live}}</ref> Bowie wrote the first lyrics of the opening verse of "Sister Midnight" while on tour; Pop completed them in the studio.{{sfn|Pegg|2016|p=245}} Reviewers have compared Pop's vocal performance to [[Jim Morrison]] of [[the Doors]].<ref name="Strick Circus" /><ref name="Riegel Creem" /> The author [[Peter Doggett]] writes the identity of "Sister Midnight" is irrelevant, explaining that "she was merely a cipher, who could send [Pop] soaring to the moon or falling to Earth{{nbsp}}... without either journey seeming to register on his emotions".{{sfn|Doggett|2012|pp=302–304}} The [[Krautrock]]-influenced "Nightclubbing" is considered a forerunner to what Bowie would explore on ''Low''.{{sfn|O'Leary|2019|loc=chap. 1}}{{sfn|Pegg|2016|p=198}} The riff has been described as a mischievous take on [[Gary Glitter]]'s "[[Rock and Roll (Gary Glitter song)|Rock and Roll]]".{{sfn|Trynka|2007|pp=[https://archive.org/details/iggypopopenupble00tryn/page/242 242–250]}} [[Kris Needs]] described it as "the bleak sound of the 1985 [[disco]], as ghostly electronic washes sky-write phrases over an unsettling, distorted disco pulse".<ref name="Needs ZigZag" /> Lyrically, Pop described "Nightclubbing" as "my comment on what it was like hanging out with him every night" and "about the incredible coldness and deathly feeling you have after you've done something like that and how much you enjoy it. It could be Los Angeles or Paris or New York or anywhere, really."{{sfn|Pegg|2016|p=198}}<ref name="Demorest PR" /></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>"Sister Midnight" is similar to the [[funk]] style of Bowie's tracks "Fame" and "[[Stay (David Bowie song)|Stay]]", described by <ins style="font-weight: bold; text-decoration: none;">critics Thomas Jerome </ins>Seabrook and <ins style="font-weight: bold; text-decoration: none;">Chris </ins>O'Leary as the song most representative of Bowie's pre-Berlin period.{{sfn|O'Leary|2019|loc=chap. 1}}{{sfn|Seabrook|2008|pp=89–95}}{{sfn|Pegg|2016|p=245}} Its lack of overtly electronic instrumentation belied what the critic [[Dave Thompson (author)|Dave Thompson]] described as a "defiantly futuristic ambience".<ref name="Thompson">{{cite web|url=http://www.allmusic.com/song/sister-midnight-mt0010705960|title="Sister Midnight" – Iggy Pop|publisher=AllMusic|access-date=December 8, 2014|last=Thompson|first=Dave|author-link=Dave Thompson (author)|archive-url=https://web.archive.org/web/20140807035119/http://www.allmusic.com/song/sister-midnight-mt0010705960|archive-date=August 7, 2014|url-status=live}}</ref> Bowie wrote the first lyrics of the opening verse of "Sister Midnight" while on tour; Pop completed them in the studio.{{sfn|Pegg|2016|p=245}} Reviewers have compared Pop's vocal performance to [[Jim Morrison]] of [[the Doors]].<ref name="Strick Circus" /><ref name="Riegel Creem" /> The author [[Peter Doggett]] writes the identity of "Sister Midnight" is irrelevant, explaining that "she was merely a cipher, who could send [Pop] soaring to the moon or falling to Earth{{nbsp}}... without either journey seeming to register on his emotions".{{sfn|Doggett|2012|pp=302–304}} The [[Krautrock]]-influenced "Nightclubbing" is considered a forerunner to what Bowie would explore on ''Low''.{{sfn|O'Leary|2019|loc=chap. 1}}{{sfn|Pegg|2016|p=198}} The riff has been described as a mischievous take on [[Gary Glitter]]'s "[[Rock and Roll (Gary Glitter song)|Rock and Roll]]".{{sfn|Trynka|2007|pp=[https://archive.org/details/iggypopopenupble00tryn/page/242 242–250]}} [[Kris Needs]] described it as "the bleak sound of the 1985 [[disco]], as ghostly electronic washes sky-write phrases over an unsettling, distorted disco pulse".<ref name="Needs ZigZag" /> Lyrically, Pop described "Nightclubbing" as "my comment on what it was like hanging out with him every night" and "about the incredible coldness and deathly feeling you have after you've done something like that and how much you enjoy it. It could be Los Angeles or Paris or New York or anywhere, really."{{sfn|Pegg|2016|p=198}}<ref name="Demorest PR" /></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Originally titled "Fun Fun Fun",{{sfn|O'Leary|2019|loc=chap. 1}} Hugo Wilcken describes "Funtime" as a "proto-gothic number".{{sfn|Wilcken|2005|pp=37–58}} Pegg writes that the guitar and drum sounds exhibit Bowie's interest in German bands such as Neu!{{sfn|Pegg|2016|p=95}} Some reviewers have compared the song's style to [[the Velvet Underground]].<ref name="Needs ZigZag" /><ref name="Demorest PR" /> For the track, Bowie advised Pop to sing "like [[Mae West]], like a bitch who wants to make money".{{sfn|Wilcken|2005|pp=37–58}}{{sfn|Pegg|2016|p=95}} Lyrically, the song evokes both Bowie and Pop's final days living in Los Angeles, with lines like "talkin' to [[Count Dracula|Dracula]] and his crew". Bowie's backing vocals were mixed almost as high as Pop's lead ones.{{sfn|Seabrook|2008|pp=89–95}}{{sfn|Pegg|2016|p=95}} Pop called it his "love song" in 1977.<ref name="Demorest PR" /> "Baby" is primarily led by bass and synthesizer rather than drums. While it is German influenced, Seabrook considers the song more [[cabaret]] and less Krautrock.{{sfn|Seabrook|2008|pp=89–95}} Lyrically, it is about a relationship that is soon to fail. Unlike the next track, Pop cautions the listener to "stay clean, stay young, and not cry, because he's already done it all".<ref name="Demorest PR" />{{sfn|Seabrook|2008|pp=89–95}} Originally called "Borderline",{{sfn|O'Leary|2019|loc=chap. 1}} "China Girl" is the most upbeat track on the album.<ref name="Demorest PR" /> The song is led primarily by a distorted guitar and synthesizer.{{sfn|O'Leary|2019|loc=chap. 1}}{{sfn|Seabrook|2008|pp=89–95}} Production-wise, it is raw and unpolished compared to Bowie's 1983 remake.{{sfn|Pegg|2016|pp=487–488}} It is a tale of unrequited love inspired by Kuelan Nguyen, partner of French actor-singer [[Jacques Higelin]], who was also recording at the château at the same time. The protagonist's "Shhh{{nbsp}}..." was a direct quote from Nguyen after Pop confessed his feelings for her one night.{{sfn|Trynka|2007|pp=[https://archive.org/details/iggypopopenupble00tryn/page/242 242–250]}} Pop improvised most of the lyrics while standing at a studio microphone.{{sfn|O'Leary|2019|loc=chap. 1}}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Originally titled "Fun Fun Fun",{{sfn|O'Leary|2019|loc=chap. 1}} Hugo Wilcken describes "Funtime" as a "proto-gothic number".{{sfn|Wilcken|2005|pp=37–58}} Pegg writes that the guitar and drum sounds exhibit Bowie's interest in German bands such as Neu!{{sfn|Pegg|2016|p=95}} Some reviewers have compared the song's style to [[the Velvet Underground]].<ref name="Needs ZigZag" /><ref name="Demorest PR" /> For the track, Bowie advised Pop to sing "like [[Mae West]], like a bitch who wants to make money".{{sfn|Wilcken|2005|pp=37–58}}{{sfn|Pegg|2016|p=95}} Lyrically, the song evokes both Bowie and Pop's final days living in Los Angeles, with lines like "talkin' to [[Count Dracula|Dracula]] and his crew". Bowie's backing vocals were mixed almost as high as Pop's lead ones.{{sfn|Seabrook|2008|pp=89–95}}{{sfn|Pegg|2016|p=95}} Pop called it his "love song" in 1977.<ref name="Demorest PR" /> "Baby" is primarily led by bass and synthesizer rather than drums. While it is German influenced, Seabrook considers the song more [[cabaret]] and less Krautrock.{{sfn|Seabrook|2008|pp=89–95}} Lyrically, it is about a relationship that is soon to fail. Unlike the next track, Pop cautions the listener to "stay clean, stay young, and not cry, because he's already done it all".<ref name="Demorest PR" />{{sfn|Seabrook|2008|pp=89–95}} Originally called "Borderline",{{sfn|O'Leary|2019|loc=chap. 1}} "China Girl" is the most upbeat track on the album.<ref name="Demorest PR" /> The song is led primarily by a distorted guitar and synthesizer.{{sfn|O'Leary|2019|loc=chap. 1}}{{sfn|Seabrook|2008|pp=89–95}} Production-wise, it is raw and unpolished compared to Bowie's 1983 remake.{{sfn|Pegg|2016|pp=487–488}} It is a tale of unrequited love inspired by Kuelan Nguyen, partner of French actor-singer [[Jacques Higelin]], who was also recording at the château at the same time. The protagonist's "Shhh{{nbsp}}..." was a direct quote from Nguyen after Pop confessed his feelings for her one night.{{sfn|Trynka|2007|pp=[https://archive.org/details/iggypopopenupble00tryn/page/242 242–250]}} Pop improvised most of the lyrics while standing at a studio microphone.{{sfn|O'Leary|2019|loc=chap. 1}}</div></td></tr>
</table>imported>Zmbrohttp://debianws.lexgopc.com/wiki143/index.php?title=The_Idiot_(album)&diff=995570&oldid=previmported>CleoCat16: Post-punk still mentioned in "Styles and themes"2025-05-19T18:48:45Z<p>Post-punk still mentioned in "Styles and themes"</p>
<a href="http://debianws.lexgopc.com/wiki143/index.php?title=The_Idiot_(album)&diff=995570">Show changes</a>imported>CleoCat16