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This song is about child abuse. It tells the story of a frightened boy who is forbidden to talk about what he's going through.
On a 1987 Swedish television special, Vega said: "A few years ago, I used to see this group of children playing in from of my building, and there was one of them, whose name was Luka, who seemed a little bit distinctive from the other children. I always remembered his name, and I always remembered his face, and I didn't know much about him, but he just seemed set apart from these other children that I would see playing. And his character is what I based the song Luka on. In the song, the boy Luka is an abused child - In real life I don't think he was. I think he was just different."
Speaking with SongTalk magazine, Vega explained that she started with the title for this song. Describing how she wrote it, she said: "It takes months of kind of fingering it in my mind, while I'm walking around or doing something else, it's just like a problem that my mind goes back to. It wiggles. It's like you're trying to get the right angle, and once the angle comes, I can write the song in two hours. Like 'Luka' took two hours. It took months of thinking about it and lining up the shot, in a sense. Like if you're playing pool and you want to clear the table, you line it all up, and then you just hit it and everything clears. It's very satisfying, but it takes months of preparation.
I wasn't sure what the character would say. I knew what the character's problem was, but I didn't know how to get the listener involved. I wanted it to be from the point of view of a person who is abused. Now the problem that that person has is that they can't say it. So how do you get the problem out if you can't say it? How do you involve the listener? Well, you introduce yourself: 'My name is Luka.' And 'I live on the second floor, I live upstairs from you,' and so therefore you're engaging the listener. 'I think you've seen me before,' so you start to listen. You're drawing the listener into this world with very simple, basic information. And it then proceeds to state the problem without ever saying what the problem is. That was my problem as a songwriter: How do I give this information without ever giving it?
It's easy to point a finger. It's easy to say, 'Child abuse must stop' and everybody knows this."
Vega wrote this song about three years before it was released on her second album. It was written before her debut album, but Vega said it "needed some time for it to settle into the bag of songs."
There is a great deal of lyrical dissonance in this song, as the stark story of child abuse contrasts with the catchy melody. Vega explained to SongTalk: "Because I was aiming at such a complex subject, I was aiming for the simplest line to get there. Simple melodies, happy chords. I felt I had to make it accessible because it was such a dark subject. So I went all out. But I also tried to write in the language of a child. So that's probably why it worked, because it is so accessible."
The video was directed by Michael Patterson and his wife Candace Reckinger, and it used an experimental animation technique that they popularized in the video for a-ha's "Take On Me
Van Dyke Parks
U2, Carly Simon, Joanna Newsom, Brian Wilson and Fiona Apple have all gone to Van Dyke Parks to make their songs exceptional.
Susanna Hoffs - "Eternal Flame"
The Prince-penned "Manic Monday" was the first song The Bangles heard coming from a car radio, but "Eternal Flame" is closest to Susanna's heart, perhaps because she sang it in "various states of undress."
His keyboard work helped define the Muscle Shoals sound and make him an integral part of many Neil Young recordings. Spooner is also an accomplished songwriter, whose hits include "I'm Your Puppet" and "Cry Like A Baby."