I hear your heart beat to the beat of the drumsWhat's of interest to me, and ought to be of interest to everyone is the conclusion drawn. For Ke$ha, the prospect of dying young entails hedonistic premises and leads to hedonistic conclusions. And yet the assumption here is that questions of the meaning of life, of why we're here, of what true and lasting pleasure are, of death and the afterlife are all secondary. For Ke$ha, death is just an obstacle to more pleasure. And I fear for many of us, and for her enthusiastic listeners, this is often the case.
Oh what a shame that you came here with someone
So while you're here in my arms
Let's make the most of the night like we're gonna die young
We're gonna die young
We're gonna die young
Let's make the most of the night like we're gonna die young
I know it's just a really dumb song, and the people who listen to it claim not to care about the lyrics, but they deserve a contrast from the opposite end of the seriousness spectrum. I have previously compared music lyrics to Edwards, and I'm about to do it again. Jonathan Edwards was the picture of a man who wanted desperately not to waste his life. I quote now from his resolutions:
7. Resolved, never to do anything, which I should be afraid to do, if it were the last hour of my life.For many, music functions for us as a way to escape the responsibilities of existence. It is a means to forget about work and family and life and just lose oneself in the beat. If music is used in this way, it becomes a tool of self-destruction because, like a drug, it deadens the soul to our deepest and most desperate needs, while at the same time leaving those needs completely unaddressed.
17. Resolved, that I will live so as I shall wish I had done when I come to die.
50. Resolved, I will act so as I think I shall judge would have been best, and most prudent, when I come into the future world. July 5, 1723.
Lets take Ke$ha's advice and live like we're gonna die young. But let's do something different because of it. Don't waste your life, people.
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