# Imagine A World > **One-line reading.** An invitation to imagine — framed as *authorship*, not escape — that runs through wonder, false gods, and media conditioning, and lands on Eden relocated inside: look, believe, conceive it. Not John Lennon's "Imagine." The extra word is doing work. > [!info] Album & credits > **Album:** *33* (2022, Big Loud Rock) — **track 9 of 10** · 4:44 > **Written & produced by** Roy English & Matt Pauling > **Full lyrics:** [Genius](https://genius.com) · streaming > **▶ Listen:** [Spotify](https://open.spotify.com/track/2V4cBI8ipMsAEPlBC9PmB4) The album's capstone before the closer. *33* spends nine tracks diagnosing a world of attention-machines, false gods, and programmed thought — Online, Happy Face, and I Like to Party build that machine song by song — and here, one song from the end, it stops diagnosing and makes an offer: imagine your world, and while you're at it, notice you're the one writing it. It's the record's residual human appeal — the human pole answering the machine the rest of the album assembles. Everything the record has been circling — the designed God, the media conditioning, the self as author, the garden you can't find on a map — gets gathered up and handed forward to *The Circle*. It is the record at its most sincere and its most quietly booby-trapped, because one of the gods in its roll-call is a fraud, and the song knows it. ## At a glance - **Era / release** — *33* (2022, Big Loud Rock), track 9 of 10, the penultimate track. Runtime 4:44. - **In one line** — imagination as authorship of your own world, running wonder → false gods → media conditioning → the Eden within. - **Who speaks** — Roy, as the inviting voice, addressing **the listener** the whole way through — *you* ×35, *I* ×0. The most other-directed song on the album. (Sir Lucius is *in* it, disguised — see OZ.) - **Key symbols** — the Garden of Eden (relocated inward) · [[The Mirror|the Mirror]] (parents as reflections) · [[The Veil — The Deep End|OZ / the man behind the curtain]] · "Those Thoughts" (the conditioning force). ## The song, mapped The lyric file is a continuous transcript — no *[Verse]* / *[Chorus]* headers, no chorus that repeats the same way twice. So the cleanest way to read it is as an **argument that keeps moving**, one persuasive step at a time. It plants an idea early ("a God you designed"), then cashes it out late (OZ). Following its own moves: | # | The move | In the song | What it does | |---|---|---|---| | **1** | **The frame** | *"Imagine a world full of wonder"* → *"it's all inside of your mind, it's up to you to decide"* | States the thesis and *immediately relocates it inward.* Imagination isn't a window you look out of — it's the room you're standing in. | | **2** | **Authorship declared** | *"you can't get it wrong / playing your note in a song / written by you for your life"* | Reframes imagining as a **low-stakes generative practice** — writing, not testing. You can't fail at it. | | **3** | **The designed-divinity question** | *"Is there intelligent life? / Is there a God you designed?"* | Plants the seed the song detonates later: a god can be *authored.* | | **4** | **Money as neutral, consequential** | *"money was magic / but it could make your life tragic / depending on how you acted / you were the cause and reaction"* | Worldview-as-lens applied to the most charged object going. Money isn't good or evil; your *frame* decides which. | | **5** | **Passive vs. heroic** | *"do nothing… yell at people… get in fights… who do you think you are?"* set against *"be a hero… if you got out your own way / and went your own way"* | Lines up the deadbeat-and-hater menu, then pivots to agency. Imagination as the antidote to passivity. | | **6** | **Choose your parents** | *"you pick your parents when you start / they're perfect for your lesson / the struggle and the blessing / reflections of who you are"* — then *"(It's not a phase mom!)"* | Converts circumstance into curriculum, and names parents as *reflections* (the Mirror, folded into the family). Then punctures its own solemnity with a teenage eyeroll. | | **7** | **The conditioning sequence** | *"everything is brand new / then people start to label you / and you turn on the cable news / and Those Thoughts take ahold of you"* | The narrowing. Wonder is primary; labels and broadcast are the *secondary* squeeze. This is the album's attention-economy critique walking back onstage. | | **8** | **The god-list, with a fraud in it** | *"where every religion was right / blue-headed gods / Brahma, Muhammad, and OZ / Horus, the Buddha, and Christ"* | Perennialism — *every* religion right — with the humbug slipped in deadpan beside real deities. The seed from move 3 blooms. | | **9** | **The landing: Eden within** | *"The Garden Of Eden (In-A-Gadda-Da-Vida) / look inside you'll see it / you just gotta believe it / you just gotta Conceive it"* | Eden relocated from lost history to interior consciousness. **Believe → conceive:** imagination as creation, even birth. Hands off to *The Circle.* | **The grammar is the argument.** Across all nine moves the song says *you* thirty-five times and *I* not once — a pure, other-directed second person. The album faces an audience and hands it the pen. (That "you-engine" is a *33* signature; by *Lucius Lullaby* the second person will quietly disappear.) ## What it means A few claims that cut across the whole thing: - **Imagination is authorship, not escape.** The whole invitation is welded to action, identity, and consequence — and, explicitly, to *writing*: *"playing your note in a song, written by you for your life."* "You can't get it wrong" makes it a practice, not an exam. This is the same self-as-world-author that [[Another Way II Heaven]] stages as cosmology — an "I" that creates by *speaking* — except here it's made participatory. That song is the myth; this one hands you the mic. - **Worldview is a chosen lens.** The identical world shows up as wonder, tragedy, opportunity, or prison depending on how you frame it — *"depending on how you acted, you were the cause and reaction."* Imagination isn't a destination you travel to; it's the lens experience arrives through. Interpretation comes first, and reality follows it out. - **Labels and media narrow the original wonder.** The conditioning sequence (move 7) is precise about the order of operations: wonder is what you're *born* into, and then categorization plus broadcast close in on it. The capitalized **"Those Thoughts"** taking hold is *33*'s programming critique personified — conditioning as the thief of possibility, the same force the earlier tracks build the attention-machine out of. - **OZ is the tell.** This is the interpretive keystone. *"Every religion was right"* reads as generous perennialism — until you clock who's standing in the line-up. Beside Brahma, Muhammad, Horus, the Buddha, and Christ sits **OZ**: the humbug, the man behind the curtain, a projected "god" who's really a guy working levers. Put that next to *"is there a God you designed?"* and the wink lands — in a world you imagine, even the *fraud*-god is "right." Which is liberating and a warning in the same breath. It's the whole album's suspicion of the manufactured deity, smuggled into a line that sounds like pure inclusivity. *(Leap flagged: OZ could just be whimsy. But on an album this preoccupied with curtains and disguises, the fraud-god reading earns its keep.)* - **Eden comes home.** The landing relocates paradise from a lost *place* to an interior *state*, reached by belief and then conception: *"look inside you'll see it, you just gotta believe it, you just gotta Conceive it."* It's the kingdom-within in its garden form — and the parenthetical does the joke for you. *"In-A-Gadda-Da-Vida"* is Iron Butterfly's famous slur of "In the Garden of Eden": the external Eden survives in the culture only as a mumbled 1968 rock echo. The garbled version is the point. The real one was never out there to mispronounce. **And the honest counter-read:** none of this requires the machinery. *Imagine A World* works flat-out as a sincere indie-rock empowerment anthem — imagine, create, don't blame, be a hero — with the curtain-god and Eden-within architecture layered *on top* of an accessible, verified lyric, not smuggled underneath it. It reads as sincere-with-a-warning, not as an ironic inversion of the utopian "Imagine" register. OZ may be pure play. The deeper structure is real, but it's a floor you can decline to look at and still love the song. ## Characters - [[Roy]] — the inviting voice; the self framed as the author of its own world. - [[Sir Lucius]] — *present but in disguise.* He's the OZ in the roster and the "God you designed" — the curtain-god that the album's attention-force (*"televise is just my disguise"*) prototypes. The fraud-deity smuggled into the line of real ones is a very Lucius move: technically included, technically "right," entirely a projection. - **The listener ("you")** — addressed throughout as co-creator. Not a bystander but the grammatical center of the song (*you* ×35), invited to complete the imagining. In the album's crowd-and-participation device, this is the *invitation* form: *just imagine* — and you're the one who finishes it. ## Artifacts **CHUCKSTER'S MUMMY 2 (228)** · `G228` — "Imagine a world full of wonder / Where money was magic" frames money as childlike magic, and this childhood story enacts exactly that: a million dollars conjured out of a tall tale. → [[Artifacts - Family, Friends and Moments|analysis]] · [gallery ↗](https://mirrors.jagwartwin.com/gallery) <video src="https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0xa356e31c94415a9637fc8761460f968a6c92ca9ceeb4d6e9a7e80f23f380da72..mp4" poster="https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0xa356e31c94415a9637fc8761460f968a6c92ca9ceeb4d6e9a7e80f23f380da72..jpg" width="240" controls preload="none"></video> **THOUGHT FORMS** · `THOUGHT FORMS` — The song's closing question 'Is there a God you designed?' is a near-verbatim restatement of the artifact's thesis that gods are 'Images formed in mind,' both framing the divine as something the human mind a… → [[Artifacts - Drawings and Sketches|analysis]] · [gallery ↗](https://mirrors.jagwartwin.com/gallery) <a href="https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x8a936464fa52919815c00076e8546d7155141ee192aeb2f2b3d2078e334090ea..jpg"><img src="https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x8a936464fa52919815c00076e8546d7155141ee192aeb2f2b3d2078e334090ea..jpg" width="200"></a> **EDEN CUBE** · `A RIVER` — The album's only explicit Eden lyric, "The Garden Of Eden (In-A-Gadda-Da-Vida) / look inside you'll see it," names the very thing the sketch diagrams: the artifact draws Eden-above-the-world as a source feed… → [[Artifacts - Concept Images and Emblems|analysis]] · [gallery ↗](https://mirrors.jagwartwin.com/gallery) <a href="https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x4c3cc16801611899e9e7698122fd86a5e82d6858095c4a4c47af5c46c51b91b9..jpg"><img src="https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x4c3cc16801611899e9e7698122fd86a5e82d6858095c4a4c47af5c46c51b91b9..jpg" width="200"></a> **IMAGINE A WORLD** · `IMAGINE A WORLD` — This is the buried song-mint of 'Imagine A World' (track 9 of 33), unlock code = the song title; the tie is definitional, and the frame's red-bordered desert-and-forming-membrane matches the song's 'imagine/… → [[Artifacts - Songs, Demos and Mints|analysis]] · [gallery ↗](https://mirrors.jagwartwin.com/gallery) <video src="https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0xf49a9d959a1f5ba49fc8d8f4ee38f459ef0bdd9b67c7117bfbe5b5263fbeda2f..mp4" poster="https://plumcreekranch.com/jagwar/artifacts/140.png" width="240" controls preload="none"></video> ## Symbols - **The Garden of Eden** — relocated from lost history to interior consciousness; paradise as a state you conceive, not a place you return to. - [[The Mirror|The Mirror]] — parents named as *"reflections of who you are,"* folding the catalogue's mirror motif into the family itself. - [[The Veil — The Deep End|OZ / the man behind the curtain]] — the fabricated god; the disguise stretched over the machinery. The "designed God" made concrete, and the closest thing the song has to a villain. - **"Those Thoughts"** *(capitalized in the lyric)* — the conditioning/programming force: cable news plus labeling, personified as an intruding agent that "takes ahold of you." The attention-economy critique given a proper noun. ## Connected songs - [[Down to You]] (33, track 7) — *"a God you designed"* shakes hands with *"what's the God you believe in?"*; the two songs share a self-authorship and false-gods vocabulary. - [[Pay Attention (feat. little luna)|Pay Attention]] (33, track 3) — OZ behind the curtain meets the attention-force whose *"televise is just my disguise"*; "Those Thoughts" and the cable news meet the machine that programs them. - **The [[Concepts/Machine vs Human]] cluster** — [[Online]], [[Happy Face]], [[I Like to Party]] (all *33*) build the attention-machine song by song: life through the screen, the minimum-viable mask, consumption as anesthetic. *Imagine A World* is the arc's **residual human appeal** — the counter-offer the record makes *against* the machine it spends those tracks assembling. Where they diagnose the severing, this one hands the pen back to the human. - [[Another Way II Heaven]] (33, track 8) — the cosmogony (*"One become Two"*) that this song makes participatory: consciousness creating and experiencing reality through perspective. The myth, then the invitation. - [[The Circle]] (33, track 10) — the closer this hands to, and its own answer: what's sought externally is found within, *"the inside of the inside."* - [[Soul Is A Star]] (33, track 5) — the shared Joni Mitchell channel: *Woodstock*'s *"back to the garden"* feeds both this song's "Garden of Eden" line and Soul Is A Star's credited sample. Two branches off the same *Ladies of the Canyon.* - [[Dream - Dream]] (Subject to Flooding, 2018) — the cross-catalogue "own way" anchor: 2018's collective *"doing everything our own way"* splits, four years later, into two moves (see Advanced reading). - [[Great Time to Be Human]] (Lucius Lullaby) — a lighter cousin in the wonder / possibility / perspective register. > [!note]- Advanced reading — OZ, the "designed God," and the perennialist wink *(tap to open)* > The move that makes OZ work is the perennialist frame it hides inside. *"Every religion was right"* is a real theological position (the perennialist / perennial-philosophy claim that the great traditions point at one truth through different symbols) — and it's stated warmly, without irony, in a line of genuine deities. That warmth is the camouflage. Drop **OZ** into the middle of Brahma, Muhammad, Horus, the Buddha, and Christ and you've inserted a *known fabrication* — L. Frank Baum's humbug, "the man behind the curtain," a projected god who is only a man working a machine — into a roll-call of the sincerely worshipped. > > The song has already loaded the gun: *"is there a God you designed?"* (move 3). OZ is that question's answer wearing a costume. And the wink points straight at the album's own antagonist — the attention-force of [[Pay Attention (feat. little luna)|Pay Attention]] whose *"televise is just my disguise,"* the curtain-god of the broadcast age. So the perennialist generosity carries a second meaning: **in a world you imagine, even the fraud-god is "right"** — which is exactly why you'd better notice you're the one designing him. The Deep-Dive discipline keeps this labeled as a strong reading, not stated intent: OZ could be pure whimsy, and the curtain-god tie is the reader's frame. But it's album-consistent to the point of being difficult to un-see. > [!note]- Advanced reading — the board's final rung: "10. The World," and why the *title* is a code > The Eden-within reading isn't only textual; it's anchored on one of Roy's own public artifacts. His *"I'm 33 this year"* board ([[Public Posts]]) carries a handwritten 0–10 emanation list — glosses on the [[Kabbalah - The Tree of Life|Tree-of-Life]] spheres — running *"0. Nothing IS, Nothing Becomes, Nothing is Not / 1. I AM…"* and **terminating at "10. The World."** In the board's cosmology, the unlock code for that emanation-ladder resolves to a song title — *and the title it resolves to is this one.* So track 9 isn't merely the capstone-before-the-closer: **its title names stage 10 of Roy's own ascent, "The World."** > > That reframes the whole song as the *floor* of a descent-and-return. Roy glosses his cross / "+" tattoo as representing Christ *"and the 4 worlds"* — the four Kabbalistic worlds (Atziluth / Beriah / Yetzirah / Assiah) — and this song sits on the bottom one, Assiah, the material world, "The World." The further identification of that rung with *Malkhut* (the lowest, most material sphere, the "kingdom") stays a **correspondence**, not a claim — Roy's hand writes "The World," not the Hebrew — but the lyric makes the move legible without needing the vocabulary: the kingdom is real, and *"it's all inside of your mind."* The biblical rhyme underneath is the kingdom-within of Luke 17:21 in its garden form: not *lo here, lo there,* but *look inside.* > [!note]- Advanced reading — the double HoM code, and the song as web3 artifact *(for the completists)* > The song lives in the [[Hall of Mirrors]] web3 archive in **two** distinct ways, which is unusual: > 1. **Its own mint.** *"IMAGINE A WORLD"* is a minted artifact (catalog #140, the "MINT BURIED" realm), and the unlock code for its room is simply the title. Minted by CTHDRL.ETH on 02-10-23 — one of four *33* song-mints dropped together (alongside *Down to You*, *Another Way II Heaven*, and *The Circle*). > 2. **The emanation-ladder's answer.** A *separate* artifact — the "Tree-of-Life ladder" image (an APPEARANCE-realm piece) — has the unlock code *"Know how to spell the name of the song,"* which resolves to *Imagine A World.* > > So the title is **both its own room-code and the answer to the ascent-ladder's riddle** — the same three words close the album's argument, unlock the song's own vault, and complete the "10. The World" rung of Roy's board. It's rare to see a single phrase carry that much load across the lyric, the artwork, and the paratext at once. > [!note]- Advanced reading — the "own way" split (2018 → 2022) *(a cross-catalogue lead)* > One line rewards a catalogue-wide ear. In *Dream / Dream* (Subject to Flooding, 2018), the "own way" is a single collective move: *"doing everything our own way"* — us, together, in rebellion. Here in 2022 it becomes **two distinct moves**, confirmed verbatim in the lyric: *"if you got out your own way / and went your own way?"* > > The 2022 version splits the ego-as-obstacle (*get out of* your own way — stop blocking yourself) from the path-as-autonomy (*go* your own way — choose your own road). That's the "get out of the way" doctrine — the one Roy repeats across the project as the whole move toward integration — folded quietly into a lyric. The 2018→2022 evolution is the reading; both lyrics are grounded. (Fleetwood Mac's *"Go Your Own Way"* hums underneath as cultural substrate, not a claimed source.) Vetted as one of the two strongest of the smaller *33* leads. > [!note]- Advanced reading — the resonance family (Neville Goddard, New Thought, the garbled sacred) > The song's central idea — that imagination *authors* reality — sits in a lineage Roy has publicly pointed toward, which raises it from framework-attribution toward something closer to stated influence: > - **Neville Goddard, named by Roy.** In his IG diary (~2021-01): *"listened to a lecture by Neville Goddard… What we tell ourselves really does become the reality we inhabit,"* paired with his recurring *"Imagination is the language of God."* Neville's whole system is imagination-as-creation — believe a state real and it materializes — which is *"you just gotta believe it, you just gotta Conceive it"* almost to the letter. > - **Public shares corroborate.** In his community's public Discord he posted Neville content — a *"MIND to MATTER (Adam/Atom + Eve/Electron)"* lecture link (2021-12-20) and *"Neville Goddard – The Art of Dying"* (Halloween 2023). And a 2021 poem of his runs *"You're the architect / Imagination comes / In many forms… So keep on thinking up,"* landing on *"Then you'll know WHO designed it"* — a near-sibling of both this song's authorship frame and its *"is there a God you designed?"* > - **The wider substrate:** imagination-as-creation in the Romantic / Hermetic / New Thought line; child-wonder narrowed by naming; Eden-as-inner-state over Eden-as-geography; and the *"In-A-Gadda-Da-Vida"* tag as the sacred surviving only as a degraded pop echo — the tell that the real garden was always inside. These last are framework correspondences, not stated intent. > [!note]- Advanced reading — "choose your parents," and how literal any of it is *(open questions)* > The song leaves several dials deliberately un-set, and it's more honest to name them than to resolve them: > - **Is imagination here psychology, spirituality, or creativity?** Probably all three, held in one word without choosing. > - **"You pick your parents"** — a perspective exercise for reframing your family as your curriculum, or a light brush against reincarnation / soul-contract ideas? The comic *"(It's not a phase mom!)"* is doing real work here: it *deflates the metaphysics on purpose,* keeping the move as a reframing device rather than a doctrine you're asked to sign. Read it as the former; note it could reach toward the latter. > - **How literal is "Conceive it"?** Imagination as literal creation (the Neville reading), or as motivation dressed in cosmic language? The capital C leans toward the former; the anthem's accessibility keeps the latter available. > - **Does Roy invert Lennon's "Imagine," or sustain it?** The canon answer: sustained, not inverted — sincere-with-a-warning rather than an ironic teardown of the utopian register. The distinctness from Lennon's *"Imagine"* is a deliberate authorial decision (the extra word, the different argument), not an accident of titling. ## Lyrics ``` Just imagine Just imagine Imagine a world full of wonder What would it be like? What kind of people are there? It's all inside of your mind it's up to you to decide Uh hu Imagine a world full of wonder It's easy to try You can't get it wrong Playing your note in a song Written by you for your life Uh hu Imagine a world full of wonder Where flowers could talk (oh hello!) For hours and hours And they would sing when it showers But they would stop when you walk Uh hu Imagine a world full of wonder Somewhere in the sky Or in the back of your mind Is there intelligent life? Is there a God you designed? (Oh my) Uh hu Just imagine Just imagine Just imagine Just imagine Imagine a world full of wonder It isn't hard to see Just close your eyes Imagine it in your mind Picture where you want to be (Be) Uh hu Imagine a world full of wonder Where money was magic But it could make your life tragic Depending on how you acted You were the cause and reaction (who?) Uh hu Imagine a world full of wonder Where you could do nothing Yell at people driving your car Get in fights at the bar Who do you think you are? (Who do you think you are?) Uh hu... Imagine a world full of wonder Where you could be a hero How many people could you save If you got out your own way And went your own way? Uh hu Just imagine Just imagine Just imagine Just imagine Imagine a world full of wonder You pick your parents when you start They're perfect for your lesson The struggle and the blessing Reflections of who you are (It's not a phase mom!) Uh hu Imagine a world full of wonder Where everything is brand new Then people start to label you And you turn on the cable news And Those Thoughts take ahold of you Uh hu Imagine a world full of wonder Where every religion was right Blue-headed gods Brahma, Muhammad, and OZ Horus, the Buddha, and Christ Uh hu Imagine a world full of wonder The Garden Of Eden (In-A-Gadda-Da-Vida) Look inside you'll see it You just gotta believe it You just gotta Conceive it Uh hu Just imagine Just imagine Just imagine Just imagine Just imagine (Just imagine, Just imagine) Just imagine (Just imagine, Just imagine) Just imagine (Just imagine, Just imagine) Just imagine (Just imagine, Just imagine) Imagine a world full of wonder ``` ## Source notes - **Grounded (credits, released music, public posts).** Album, position, and runtime — *33* (2022, Big Loud Rock), track 9 of 10, 4:44 — and the Roy English & Matt Pauling writing/production credit come from the album's per-track credits. The lyric is verbatim-verified, including the stylized capitals the song keeps (*Be, Those Thoughts, OZ, Garden Of Eden, Conceive*). The *"if you got out your own way / and went your own way"* couplet and the *you* ×35 / *I* ×0 count are hard textual data. Roy's public naming of **Neville Goddard** (IG diary; public Discord shares) and his cross-tattoo gloss (*"Christ and the 4 worlds"*) are public-facing. The [[Hall of Mirrors]] mint (#140) and the emanation-ladder code that resolves to the title are documented in the archive. - **Strong readings.** Imagination-as-authorship; worldview-as-lens; OZ as the fraud-god / curtain-god wink; the conditioning sequence as the album's programming critique re-entering; Eden relocated to consciousness; parents as the Mirror folded into the family; the "10. The World" rung naming the song; the 2018→2022 "own way" split. Grounded in the material, but interpretive — labeled as such. - **Framework (esoteric, syncretic — never stated intent).** The Tree-of-Life / four-worlds placement and the Malkhut correspondence (Roy writes "The World," not the Hebrew); the *"In-A-Gadda-Da-Vida"* garbled-Eden resonance; the New Thought / Hermetic imagination-as-creation lineage where it runs past Roy's named Neville influence. - **How we'd be wrong.** If the plain empowerment-anthem reading accounts for every line as fully as the curtain-god / Eden-within apparatus does, the apparatus is decorative rather than load-bearing — and OZ is just a fun rhyme. We keep that falsifier on the table: the song is built to survive being read the simple way. - **Open lead.** No direct Roy interview quote yet exists on *this specific track* — a genuine gap. A gated 2022 AltPress piece likely carries more *33*-era framing and remains un-mined. ## Read next - [[Another Way II Heaven]] — the creation myth this song makes participatory; the "I" that creates by speaking. - [[The Circle]] — the closer this hands to, and its answer: what's sought outside, found within. - [[Down to You]] — the album's other "designed God" song; shared false-gods vocabulary. - [[Pay Attention (feat. little luna)|Pay Attention]] — the curtain-god and "Those Thoughts" at full attention-machine power. - [[Sir Lucius]] — the OZ behind the curtain; the fraud-deity in the roster, decoded. - [[Concepts/Machine vs Human]] — the album-wide arc this song caps: the human counter-appeal against the attention-machine that Online, Happy Face, and I Like to Party assemble.