Budapest
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Hello, I am a teacher at Mira Loma High School and I am currently teaching
NIGHT by Elie Wiesel and I was thinking of using the lyrics from “Budapest
by blimp” as an example of entertainers trying to raise the consciousness of
society to the atrocities that have been inflicted on humanity.
This being said, I was wondering if there was any way that you could help me
to learn more about Thomas Dolby’s inspiration for the song?
Or what the blimp symbolizes?
Or anything else related to the song?
If you can not help help me with this, can you steer me to someone who
possibly can?
Anything is appreciated.
Many thanks,
Michael Bender
English Department
Mira Loma High School
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Michael, this is quite timely as the song features in my current video podcast. I’m sometimes reluctant to spill the beans about everything that was going on in my head when I wrote a song, because sometimes people form their own opinions and make connections that relate to their lives, and I don’t want to supplant those with my ‘official’ version. But I’ll tell you a little bit about ‘Budapest By Blimp’.
On the surface it’s a nostalgic love song written for a woman I left behind in Europe. The US places a high value on everything European, which it equates with class and substance. American immigrants over the years have mourned the loss of their old world values. I use terms which work both in the US and back home: ‘on the corners of boulevards’, and ‘in the cafes and shoppping malls’. Many of the terms refer to American attempts to emulate Europe—’under pillars and palaces…’ always made me think of Washington DC. It seems I’m missing European charm and history. A train whistle blows mournfully in the distance.
But things are not quite what they seem. In the second verse it starts to turn a bit nasty. I complain ‘how far away I’ve drifted’. It’s all a ‘tragedy’, a ‘grand illusion.’ And it’s not at all the way they taught you in school.
An innocent child’s voice comes in—sounding less like a happy Hungarian schoolgirl, more like an orphaned refugee. The instrumental textures become a bit more unnerving, and strange voice samples almost sound like tormented ghosts from the past. The song crashes into an instrumental with a strong sense of urgency to it, like fleeing through cobbled streets at dusk.
The worst case scenario hits…. your imagination fills in the blank. A wolf howls. The fog clears. And an obscene, rouged Cabaret-style face appears, welcoming you (in pidgin French) to what’s left of Europe’s splendour: ‘a shriveled page, ripped from the book of history.’ All those riches America holds in such high esteem are really ill-gotten gains, amassed in Europe at the expense of all the tribes and races we trampled to become the great continent we were. It’s an ugly smack in the face for Imperialism through the centuries. We end the song floating over a huge, delusional crowd, packed into a spendid city square for a night rally, chanting for some imaginary leader. But the leader won’t give them what they want to hear. Over the tannoy he screams that the march of nations is ‘not really a goosestep—more of a limp.’ Overhead looms our massive gas-filled dirigeable, which could ignite and explode at any moment, leaving nothing but a crumpled, smoldering iron frame.
I never made a video for this song, because as you can tell, it would require a huge budget and a cast of thousands. But even if I had them at my disposal, I’m not sure I’d make the video. I think the song already tells the story the way I want it told. I’m delighted at the thought of your kids listening to it, 20 years after I recorded it, and still picking up on the imagery. I hope this helps!
Thomas, thank you so much for that “opening up” & pouring forth of all the imagery & emotion behind that song. Love the “power underneath despair” of the final sections…
Those are some lucky students to have both such a wonderful teacher & an insight into the music “from the horse’s mouth” so to speak..
on a different note, thank you also for the leads you gave me at the meet & greet in ATL on your uncle “Sprice” I was finally able to track down all the details of his service, especially about his final action & demise on Dec 25 1942.
Brave Lads One And All They Were..
Sj
good work mr d,and what a tremendous compliment to you and your work from mr bender.thanks for the insight into “blimp”,you are right,people do form their own opinions,and its cool once in a while to hear the real deal.cheers,david
Thomas, supplant away. Thanks for the insight. I love the way you told the story of that song. After reading it, I don’t think the meaning would ever come across in a video quite the same way.
It’s also nice to hear the real meanings behind a musician’s work rather than my interpretation which could be totally off. Even if it turns out to be vastly different, I still have that initial connection with the music itself that can’t be altered.
(And, if you ever want to share your thoughts on the meaning behind Screen Kiss, I’m sure there are more than a few of us who wouldn’t object.)
;-p
As for that class, I agree with culo1. My high school teachers were never that progressive to even consider incorporating a technique like that.
I must admit I never quite understood the reason for Budapest and the Hungarian chorus, Though it was part of the Austro-Hungarian empire of the Hapsbergs. But I did feel I was generally right about it being sbout Europe paying for it’s sins of imperialism. I had heard of few theories that since Germany (or Prussia ) never really where players in the whole “Empire building” that nations like France and England where engaged in for a number of centuries, that it created a general feeling of resentment which resulted in the conflicts of the late 19th and and of course WWI/WWII. I feel those conflicts are directly responsible for the mess we find ourselves in today and of course Americas own unfortunately misguided form of imperialism ; a global “consumercratic” imperialism. Which I guess may just be our own “bad blood” coming to bite us in the rump. (:( .
This teacher’s approach to educating (that is a Liberal Arts perspective on historical events that might otherwise seem too horrific for kids to envision in the raw) is just fantastic. Not only does it picture the same world from a variety of angles, it also teaches the kids that the Arts are an important voice in our culture’s digestion of events around us. Bravo!
Beech
Dear Tom please never make a video;-)
kind regards… Paul Holt.,Great Barrier Reef,
Avid Editor/Cameraman……
but if you do……
Hello, I am a single straight male in Southern California and am wondering if you could please save me by explaining what “Airhead” is about.
*
*
*
(A giggle — but also with great respect for the humanitarian portraiture.)
“I never made a video for this song, because as you can tell, it would require a huge budget and a cast of thousands.”
And if you need CG…
For the “cast of thousands”, there’s always that program called Massive.
My word, Thomas. What an enlightening insight into your socially
conscious lyrics. Thank you so much for opening up. You’ve taken
us on a lyrical tour of Europe, and shone a strong floodlight on
what is actually there–seeming glory and class, but built on a
foundation of thievery and running rough-shod over the cultures
of other countries. You’re right–we North Americans were brought
up to believe that Europe was the seat of civility and ‘culture’, but
when I see it through your honest eyes, the facade falls away.
I’m so glad that Michael Bender is the good sort of teacher who
actually wants his students to learn about what really happened,
as opposed to the ‘sanitized’ version of same. The textbooks lie,
or at least leave out a lot of the truth. Textbook-writers think
that children can’t deal with the truth, but I don’t think that it’s
any better to lie to them.
You’ve illuminated your own lyrics to ‘Budapest By Blimp’ so well
that the song doesn’t *need* a video, Thomas; you’ve used
words to paint the inherent visuals, so that all we have to do is
watch the images form in our minds’ eyes.
Peace and truth,
Kara
Thomas – thanks for the insight. I am very fond of that general theme of ‘regarding old Europe from afar’ which comes out of your work.
Of course you were always pidgeon-holed as the English eccentric – the Radio 4 shipping forecast, Sir Magnus Pyke, and the Golden Age was unique for its mittel European themes – from Airwaves’ Eastern bloc spy saga to Europa’s, well Europa!
But it wasn’t until Eastern Bloc, on Astronauts, that you really tipped us off that, like Benjamin Britten and Dodie Smith, you were a real (English) East Coaster in exile (Britten wrote Peter Grimes, set in Southwold whilst in the US during the war and Smith wrote ‘I Capture the Castle’, set a little further up the coast whilst similarly US-bound).
So, let me go out on a limb here – I think you secretly want to come back to dear ol’blighty. I submit the following evidence: from Eastern Bloc, on the subject of the news coverage of the fall of the Berin Wall: “Here in England it’s so green” and “too bad I don’t get News at Ten, cos’ the CNN tells a different story”. And of course Silk Pyjamas is one long love song for that unique type of North London girl that winds up all over the world (cf. Kate Winslet in Eternal Sunshine, whatever her accent).
I’m right aren’t I? Aren’t I? (Echoing noise, tumbleweed blowing gently across screen)
yours – a Scala 2006 attendee
Addendum to my last blog-reply back there, for Thomas and
anyone else who happens to be reading this: it has to be admitted
that North America doesn’t have a spotless past, either–between
1880 and 1990, the children of First Nations people, formerly
known as Native Americans, were taken from their parents and culture, and imprisoned in residential schools. There they had their hair cut off, they were forbidden to speak their own languages, and they were abused in every way we don’t want to think about.
I certainly didn’t read about that in any of *my* school textbooks.
Those children are adults now, and they’re permanently trau-
matized. Please see
I feel guilt-by-association about how First Nations people have always been treated by white North Americans–if First Nations people ever mistrust me because I’m white, I can’t say as I blame them, even though I’ve been proud to count many First Nations people as my friends, among many other nationalities.
I guess I just care too much. I figure I sort of make up for the
people who don’t care enough.
Peace and friendship to anyone who wants it,
Kara
Darn, the link vanished, or at least I can’t see it. Perhaps
we’re not supposed to post links–if not, I’m sorry, I didn’t know.
If anyone wants to know more about North America’s own shame, Google “First Nations + residential schools”. The truth tends to hurt.
Peace and attempts at understanding,
Kara
Interesting responses all round. Funny you should mention Bejamin Britten–my mum worked with him as the first ever secretary for the Aldeburgh Festival in the 50′s, and he was my brother Matthew’s godfather. I only met him once, at the stage door of the Maltings in Snape, the building that’s now home to the Festival and which was built my my great-great-grandfather Newsom Garratt. And yet more trivia: J K Rowling borrowed the town’s name for the controversial Potions Master at Hogwart’s!
What a cool family tree you have, TMDR – and with pretty amazing friends/colleagues/collaborators, too. I imagine your childhood as one with the most interesting people breezing through – a smart, witty household of academic and creative folks. University family, genteel and bohemian all at once. That’s the picture in my head.
My attention span is pretty short lately – did I ever tell you that one of my friends here at NatGeo is an archaeologist of the classical world. He came in one day and commented on the photo of us (with James) from Annapolis. I said, “Hey – maybe you knew his father.” When I told him who you father was, his eyes got big and he said, “Oh wow! Martin Robertson was a rock star!” See, where I work, your father was the rock star.
TMDR-
You MET Benjamin Britten?!?!? Amazing family connection! Britten was perhaps the greatest english-language songwriter of the 20th century… did you hear much of his music growing up? Some of his lyricism might have rubbed off on you!
Beech
Thanks for the insight Thomas.
Of course the Americans have their own skeletons in the closet. Seems there were 4 million or so Natives living here before we came over and wiped them out.
I think it’s great that you let people use their personal experiences to relate to your music. It’s also really cool that you clarify the meaning of a song for your fans… sometimes the latter helps one do the former!
Every nation/society/civilization has its virtues and vices, neither of which should be distorted. Wiesel’s Night is one of my favorite books. Even the introduction by the French journalist is compelling.
Thanks for sharing!
Monica
Budapest remains one of my favorite TMDR songs, and I can honestly say I’ve never known, never had any clue, what it was about. I often try to figure out what songs are about but rarely succeed. My mind isn’t wired to understand the symbolism found in lyrics.
As interesting as it was to read what this song is really about, I think I preferred my ignorance. I guess I’m suffering from what TMDR didn’t want to have happen. That being said, I made the choice to continue reading and have my thoughts ‘supplanted’, so please, Thomas, continue to share your thoughts.
I just love the lush, lyrical sounds of this song. I can close my eyes and happily drift away as the song builds and takes me away (it’s up there with anything from ‘The Flat Earth’ for this quality)…
I have no doubt I’m totally in the minority on this, and seriously considered not posting my thoughts, but thought decided on it to give an alternative fan view.
Rochelle
TMDR
An East Coaster indeed! I have spent a lot of time sailing in Aldeburgh with my wife’s family and I still love that incongruity of all those ‘county’ types in tweed claiming to be major Britten fans whilst quietly having to wrestle with their homophobia as they wince their way through Billy Budd complaining about the hard seats in the Maltings. Your family would seem to be a touch more enlightened I can see.
And you neatly avoided my question: are you (ever) coming home?
Anyway, do shout if you ever want a sail from that coast – my friend (whose Partner was Trevor Horn’s roadie) has one of those gorgeous Oyster Catchers which sits around doing nothing.
In the meantime, I have an idea – an electronica version of Britten’s Four Sea Interludes from Grimes. Please help me ‘cos I can’t even work Garage Band let alone Logic!
Robin
As a Jew, or one who has heard the song, it quickly became a favorite. The imagery is pretty clear to me in many cases. I saw the “blimp” as a symbol for an “overview”, being high over the events of the unfolding history of our western cultures. Some of the specifics were less clear to me within the lyrics but the “gist” of the song is very erudite. Having independently studied some history, it becomes shocking how much “they never taught you that in school”.
I’d like to direct Mr. Bender to another song of merit within the history that “NIGHT” encompasses. “Goose Step-Two Step” by Hilary. She only did one LP, only four songs, each one quirky, entertaining, and very electronic. Very difficult “self titled” release to find. I carefully digitized my only copy made from a cassette via vinyl LP in the early 80′s. I would be willing to offer the recordings as an instructional tool but the blog doesn’t seem to offer an email update function to comments.
Addendum to my previous post. The EP by “Hilary” was titled “Kinetic”, also the title cut. Someone created a fansite for her. http://www.hilarykinetic.com/
The cut “Goosestep Twostep” is a bit gruesome, but I used it once when I was teaching 6th grade Judaica. My favorite is “I Live” (In A House Of My Own Making) The EP is really worth the listen if it can be tracked down.
My mom is also a great fan of your music… she remembers dancing to SBMWS back in the 80s, and she went with me to your Dec. 22 Birchmere show. Budapest is one of her favorite songs now, along with I Scare Myself.
I told her about this blog posting of yours, and she thought it was really cool. She wants me to tell you that she never gets bored with any of your songs that she’s heard and that the music often has more meaning for her than the lyrics… not that she doesn’t like the lyrics, she does! …but the music takes her somewhere else, and I must agree!
Keep up the great work, Thomas!
My initial understanding of “Budapest” was cemented by the line, “Not really a goose step, more of a limp”. “Bye bye Empire, bye bye” from “Submarines” and other TMDR song lyrics lead to what I saw as a critical view of Europe in general. Songs like this, and not the “hits” are what kept me coming back for more Dolby.
Risking a political commentary, the “..goose step..” line nowadays applies to the current U.S. Administration…a group of supposedly intelligent people that cannot find their way out of a wet paper bag given the bag, a bottle of water, and detailed instructions.
Era and personal interpretation aside, wry humor remains wry humor.
Thanks, Thomas, for posting up the real story behind “Budapest By Blimp”.
Wow. My favorite song has just become my favorite manifesto. Thank you 1000 times Thomas. We design natural history museum exhibits. As I listen to you sing “Regardez bien, je vous en prie” little pangs of guilt run through my psyche. Actually, that happens whenever I get one of these “great white man history” stories to tell. Thanks to your influence, and Bowie’s, Joni Mitchell’s , Prince’s…I could go on…artists with a social conscience, in a nutshell)…for a current project we’re hoping to encourage the American Indian Nation tell its own story, play its own music, and show how they survived in this land 12,000 years before the great white hope arrived. Naturally, however, they distrust us instinctively.
Not just here, but world hIstory is full of one nation/tribe clobbering another to steal its riches. The irony is deafening. U.S vs. the Middle East is no different…no matter how it gets marketed to the goosestepping masses. If you ever make a video of this just edit together clips from the 24/7 mediathon that has replaced our news stations and dulled our capacity for critical thought. Add your soundtrack in place of the propaganda. And try to get people to blow up their televisions.
Dear Thomas and my fellow “dissidents”,
As a teacher of languages and culture, I am very pleased but not surprised at how you were able to shed light on the imagery and meaning behind the lyrics that inspired you to write “Budapest by Blimp”. I enjoyed your live version at the Canal Room in September and I have to admit it had a darker, more revealing tone to it.
BTW, I always imagined a video ending as you described, the Stalin-like dictator overlooking a plaza teeming with the oppressed populace looking to him for leadership and getting the usual rhetoric.
Bravo, comrade.
I felt this track was heavily influenced by the sound-world and mood of your soundtrack for Gothic.
TMDR … Lovely blog BTW. Way back in high school a friend played me a Prefab Sprout track that I could have sworn utilized the backing track from Budapest By Blimp. I know you produced some Prefab Sprout albums. But I’ve never found / heard that track again. Did I imagine it, or was there some crossover of that great vibe on Budapest By Blimp to the Prefab Sprout sessions? And, BTW .. I just love you, man.