![]() ![]() The song uses an upbeat, big-band jazz style and is most notable for being the first song from the Super Mario series to feature lyrics, something rarely heard in songs from Mario games. The song was also used in the E3 2017 trailer for the game. It is sung by Pauline during the mission A Traditional Festival! as well as during the beginning segment of the Darker Side. " Jump Up, Super Star!" (referred to as " NDC Festival" in-game), also referred to as " 1-Up Girl," is the theme song of Super Mario Odyssey. You can’t say ‘Voldemort,’ but words are just words and that’s a particularly inflammatory word, and it means more than the reference I was trying to make.Official cover for the "Jump Up, Super Star!" single It’s a different time now, and I still can talk about it and I feel like words are just words. “I’d rather have a few people say, ‘Oh, you shouldn’t do that because that’s the way it was written, man, and we understand,’ than the alternative,” Doe continues. So maybe we changed it a year and a half ago, in the beginning of 2019 or the middle of 2018. Part of us was being egotistical and petulant and saying, ‘Well, I didn’t mean it that way,’ and that’s kind of bullshit because then you’re just defending yourself. ![]() “It was like, ‘We just can’t figure out how to do this,'” Doe says. They stopped playing the song for two tours, and then their fans started asking them why they’d stopped performing what was essentially their signature tune. So now we sing, ‘She had started to hate every Christian and Jew.'” We used the N-word in that, and even when it was written, that use was to hold a mirror up to people and say, ‘In desperate times, really ugly things can surface from your past.’ And it was a way of pointing out to people that words have power. “It’s about this person, ‘she.’ It’s, like, a signature X song, but we’ve had to change some lyrics. “It’s a character-driven song,” he says now. In more recent years, though, he says the song’s racism has made him feel uneasy and the band cut the song from their set lists for a period of time. Cain, and Nathanael West did - the Doors did it - so it was time for an update.” I wanted to show the dark side or underbelly of Los Angeles. And to be honest there was a lot of shock value intended in the lyrics. “She had lived there for a couple of years and she became more and more racist and stereotyping people. “She’d just gotten fed up with it,” he told Rolling Stone in 2017. Doe wrote the lyrics about a friend of his who had a nervous breakdown while living in London. so much that she’d become a raving racist, homophobic anti-Semite and had to leave immediately. They titled Los Angeles after one of their most arresting songs, which described a woman who had grown to hate L.A. The record featured classics like the revved-up “Johnny Hit and Run Paulene,” the glitzy “Sex and Dying in High Society,” the insanely catchy “The World’s a Mess, It’s in My Kiss,” and, of course, “Soul Kitchen.” (Incidentally, X recently drew a line back to the Doors on their new comeback album Alphabetland, by inviting guitarist Robby Krieger to play on the LP’s final song, “All the Time in the World.”) With no one biting, they cut an album’s worth of songs, from about two LPs’ worth of material, and issued what became Los Angeles through indie label Slash. Live takes of the song, even at the time, felt a little heavier, a little more threatening, such as the version seen in 1981 punk doc The Decline of Western Civilization, recorded before Los Angeles’ release.Īfter a chance encounter with Manzarek, who came to the Whisky to check out another band but became enamored with X and their nearly unrecognizable cover of the Doors’ “Soul Kitchen,” the keyboardist tried to get them a record deal, to no avail. “I kind of wish we’d done a version of ‘Nausea’ without the organ, even though I love that version.” “Nausea” is a plodding, doomy tune about “poverty and spit” and “bloody red eyes” and Manzarek played some shimmering, almost proggy licks over it. “I love what he added to it, even though it’s not exactly how we sounded at the time,” Doe says. “Recordings are great, but if you’re in the middle of it, playing songs live is better.”īut even though he hasn’t put on the vinyl in decades, Doe can appreciate Los Angeles as a recording, especially the touches that Ray Manzarek, the Doors keyboardist and the album’s producer, added to it. “We play all those songs all the time live,” he says. He estimates he hasn’t even played the LP - which ranks on several Rolling Stone lists, including the 500 Greatest Albums of All Time and the 40 Greatest Punk Albums - in 35 years. John Doe doesn’t think often about Los Angeles, the landmark punk record his band X released 40 years ago this month.
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