Song information On this page you can read the lyrics of the song New Jersey Turnpike , by - Laurie Anderson. Song from the album United States Live, in the genre Release date: 28.07.2008
Record label: Warner
Song language: English
Song information On this page you can read the lyrics of the song New Jersey Turnpike , by - Laurie Anderson. Song from the album United States Live, in the genre New Jersey Turnpike |
| {It is against the rules and regulations of the New Jersey Turnpike Authority |
| to drive in the wrong direction on the New Jersey Turnpike |
| It is against the rules and regulations of the New Jersey Turnpike Authority to |
| drive in the right direction in reverse on the New Jersey Turnpike |
| It is against the rules and regulations of the New Jersey Turnpike Authority to |
| drive herds of hooven animals on the New Jersey Turnpike |
| It is against the rules and regulations of the New Jersey Turnpike Authority to |
| drive vehicles with metal tires on the New Jersey Turnpike |
| It is against the rules and regulations of the New Jersey Turnpike Authority to |
| drive in the wrong direction on the entrance and exit ramps of the New Jersey |
| Turnpike |
| It is against the rules and regulations of the New Jersey Turnpike Authority to |
| drive in the right direction in reverse on the entrance and exit ramps of the |
| New Jersey Turnpike |
| It is against the rules and regulations of the New Jersey Turnpike Authority to |
| drive herds of hooven animals on the entrance and exit ramps of the New Jersey |
| Turnpike |
| It is against the rules and regulations of the New Jersey Turnpike Authority to |
| drive vehicles with metal tires on the entrance and exit ramps of the New |
| Jersey Turnpike.} |
| PETER: There was an old couple who decided to drive cross country in their car. |
| Both of them were almost legally deaf. |
| About ten miles away from home, |
| the burglar alarm for their car door went off and got stuck in the «on» |
| position. |
| They drove all the way to San Francisco like this. |
| You could hear |
| them coming from three miles away |
| The alarm didn’t seem to bother the old woman at all. |
| She thought it was sort |
| of pleasant. |
| Near Chicago, she said to her husband, «It sounds like faraway |
| bees on a summer day.» |
| Her husband said, «What?» |
| LAURIE: You can read the signs. |
| You’ve been on this road before. |
| Do you want to go home? |
| Do you want to go home now? |
| PETER: One of the major airlines used to run a kind of lottery, mostly to give |
| passengers something to do while the plane was waiting in line on the runway. |
| The stewardess would hand out lottery tickets and you peeled the sticker away. |
| If you had the right combination of numbers, you won a free trip to Hawaii. |
| If you didn’t, you didn’t win a free trip. |
| The airline discontinued the game |
| when there were too many complaints about the timing of the lottery. |
| They said: |
| Our surveys tell us that our customers felt that waiting on the runway was the |
| wrong time to play a game of chance |
| LAURIE: In my dream, I am your customer, and the customer is always right |
| PETER: He said, you know, to be _really_ safe you should always carry a bomb on |
| an airplane. |
| Because the chances of there being _one_ bomb on a plane are |
| pretty small. |
| But the chances of _two_ bombs are almost minuscule. |
| So by carrying a bomb on a plane, the odds of your becoming a hostage or of |
| getting blown up are astronomically reduced |
| LAURIE: You’re driving and you’re talking to yourself and you say to yourself: |
| Why these mountains? |
| Why this sky? |
| Why this road? |
| This big town. |
| This ugly train |
| PETER: In our eyes. |
| And in our wives' eyes. |
| In our arms and (I might add) in |
| our wives' arms |
| LAURIE: How come people from the North are so well organized, industrious, |
| pragmatic and--let's face it--preppy? |
| And people from the South are so |
| devil-may-care? |
| Every man for himself |
| PETER: I know this English guy who was driving around in the South. |
| And he stopped for breakfast one morning somewhere in southeast Georgia. |
| He saw «grits» on the menu. |
| He’d never heard of grits so he asked the waitress, |
| «What are grits, anyway?» |
| She said, «Grits are fifty.» |
| He said, «Yes, |
| but what _are_ they?» |
| She said, «They're extra.» |
| He said, «Yes, |
| I’ll have the grits, please.» |
| LAURIE: Over the river and through the woods. |
| Let me see that map |
| PETER: A sideshow. |
| A smokescreen. |
| A passing landscape |
| LAURIE: I was living out in West Hollywood when the Hollywood Strangler was |
| strangling women. |
| He was strangling women all over town, but he was |
| particularly strangling them in West Hollywood. |
| Every night there was a panel |
| discussion on TV about the strangler--speculations about his habits, |
| his motives, his methods. |
| One thing was clear about him: He only strangled |
| women when they were alone, or with other women. |
| The panel members would always |
| end the show by saying, «Now, for all you women, listen, don’t go outside |
| without a man. |
| Don’t walk out to your car, don’t even take out the garbage by |
| yourself. |
| Always go with a man.» |
| Then one of the eyewitnesses identified a |
| policeman as one of the suspects. |
| The next night, the chief of police was on |
| the panel. |
| He said, «Now, girls, whatever happens, do not stop for a police |
| officer. |
| Stay in your car. |
| If a police officer tries to stop you, do not stop. |
| Keep driving and under no circumstances should you get out of your car. |
| «For a few weeks, half the traffic in L.A. was doing twice the speed limit |
| PETER: I remember when we were going into outer space. |
| I remember when the |
| President said we were going to look for things in outer space. |
| And I remember |
| the way the astronauts talked and the way everybody was watching because there |
| was a chance that they would burn up on the launching pad or that the rocket |
| would take off from Cape Canaveral and land in Fort Lauderdale five minutes |
| later by mistake. |
| And now we’re not even trying to get _that_ far. |
| Now it’s more like the bus. |
| Now it’s more like they go up just high enough to |
| get a good view. |
| They aim the camera back down. |
| They don’t aim the camera up. |
| And then they take pictures and come right back and develop them. |
| That’s what it’s like now. |
| Now that’s what it’s like |
| LAURIE: Every time I hear a fire engine it seems like the trucks are running |
| away from the fire. |
| Not towards it. |
| Not right into it. |
| They seem like monsters |
| in a panic--running away from the fire. |
| Stampeding away from the fire. |
| Not towards it. |
| Not right into it |
| PETER: In Seattle, the bus drivers were out on strike. |
| One of the issues was |
| their refusal to provide a shuttle service for citizens to designated host |
| areas in the event of a nuclear attack on Seattle. |
| The drivers said, «Look, |
| Seattle will be a ghost town.» |
| They said, «It's a one-way trip to the host |
| town, we’re not driving back to that ghost town.» |
| LAURIE: A city that repeats itself endlessly. |
| Hoping that something will stick |
| in its mind |
| Name | Year |
|---|---|
| O Superman (For Massenet) | 2005 |
| Bright Red | 2008 |
| Speak My Language | 2005 |
| My Right Eye | 2010 |
| Big Science | 2005 |
| Born, Never Asked | 2005 |
| Speechless | 2008 |
| Freefall | 2008 |
| From the Air | 2005 |
| World Without End | 2008 |
| In Our Sleep | 2005 |
| Walking and Falling | 2007 |
| Bodies in Motion | 2010 |
| Example #22 | 2007 |
| Tightrope | 2008 |
| Beautiful Pea Green Boat | 2008 |
| The Puppet Motel | 2008 |
| Washington Street | 2001 |
| Muddy River | 2008 |
| Slip Away | 2001 |