Genesis – Bill Bruford, Mike Rutherford, Phil Collins, Tony Banks

The band Genesis references the concept of a “self police parade” in their song “The Grand Parade of Lifeless Packaging.” This track showcases the band’s signature style of blending intricate lyrics with thought-provoking themes such as The End of Days, and the social controls that self-limit the human population.

In this context, the phrase can be interpreted as a commentary on societal norms and the way individuals often conform to expectations, almost like a parade of self-policing behaviours, both the policed and also those that police them.. Peter Gabriel, known for his poetic lyricism, often explored such themes in his work with Genesis. This seems to directly correlate to the theme of self-police parade used by the band Hawkwind, based on the ideas of Robert Calvert

The imagery of a parade filled with “lifeless packaging” can be seen as a critique of societal conformity and the loss of individuality. Here are a few thoughts on who these “self-policers” might represent:

Conformists: Individuals who adhere strictly to societal norms and expectations, often at the expense of their own creativity and authenticity. They may appear “dead” in the sense that they lack passion and individuality. This could refer to either the people-policing social control enforcers, or their self-policing targets. And it may well be multi-dimensional, in terms of the self-police cascade: the fact the each of us can have multiple policing roles, both with one another, but also as wider “influencers, and there can be a tree-like structure to the dissemination of this control.

Consumer Culture: The song can also be interpreted as a commentary on how consumerism reduces people to mere products, stripped of their unique identities. This “packaging” reflects how society often values surface appearances over genuine substance. This speaks to the wider societal control of influencers at any level, and the fact that the higher an individual is perceived, the more trustworthy they appear, and the more likely that their broadcast of biased assumptions and presumptions will be accepted without challenge.

Cultural Critics: The “self-policing” aspect might refer to those who enforce societal standards, often judging others for not conforming. This creates a cycle where people feel pressured to fit in, leading to a loss of vitality and spirit. Another word for these people is gaslighters, as they have the challenge of proving the target to be wrong, and then change their behaviour. Proving this may be a case of repeatedly causing the individual pain or confusion by behaving in an incongruent way – they say one thing, then do another. They say that you are a friend, and treat you like an enemy.

Spiritual Disconnect: Drawing from the obvious Biblical connection stated within the band’s name itself, these figures could symbolize those who are spiritually “dead” or disconnected from deeper truths and values, living in a way that prioritizes materialism over meaningful existence.

Other Genesis songs with similar themes

The juxtaposition of life and death in this context raises profound questions about what it means to truly live.

These themes of conformity and the loss of individuality are prevalent throughout Genesis’s discography. Here are a few notable songs that reflect these ideas:

“The Carpet Crawlers”: This song explores the struggle for meaning and the desire to break free from societal constraints. The lyrics suggest a journey of self-discovery amidst the pressures of conformity.

“Land of Confusion”: A powerful commentary on societal issues, this track addresses the chaos and confusion of modern life, highlighting how people often feel lost and disconnected from their true selves due to external pressures.

“Dancing with the Moonlit Knight”: This song critiques consumer culture and the superficiality of modern society. The imagery used reflects a longing for authenticity in a world that often prioritizes appearances over substance.

“In the Cage”: This track delves into feelings of entrapment and the struggle against societal expectations. It metaphorically represents the feeling of being caged by conformity and the desire to break free.

“The Musical Box”: This song tells a poignant story about lost innocence and the impact of societal norms on personal relationships. It reflects on how external pressures can lead to a loss of individuality and genuine connection.

“Supper’s Ready”: This epic track is rich with apocalyptic imagery. It narrates a journey through various surreal and dark landscapes, culminating in themes of rebirth and destruction. The song’s structure and lyrics reflect a struggle between hope and despair, making it a profound exploration of existential themes.

“The Lamb Lies Down on Broadway”: This album tells a story that intertwines themes of identity and existential crisis. The protagonist’s journey can be seen as a metaphor for the search for meaning in a seemingly lifeless world, reflecting the struggle against dehumanization.

These songs, among others, showcase Genesis’s ability to weave complex themes into their music, encouraging listeners to reflect on their own lives and the societal structures that influence them.

By comparing three of those songs might reveal a lot more about Genesis’s perspective on conformity and individuality.

Genesis’s lyrics often delve into themes of social control and the darker aspects of human psychology, reflecting concerns about conformity, manipulation, and the loss of individuality. Here are some theories and psychological concepts that resonate with the themes in their music:

Social Control Theory: This theory suggests that societal structures and norms regulate individual behaviour. Genesis critiques how these controls can lead to a loss of personal identity, as seen in songs like “The Grand Parade of Lifeless Packaging.” The idea is that when people conform to societal expectations, they may become “lifeless packaging,” losing their true selves.

Behaviourism: The band may be hinting at behaviourist psychology, which focuses on observable behaviours rather than internal thoughts. This perspective can imply that individuals are conditioned by their environment, leading to a lack of critical thinking and autonomy. The lyrics in “Land of Confusion” reflect this idea, showcasing how external influences can manipulate public perception and behaviour.

Existential Psychology: This branch of psychology emphasizes individual freedom and the search for meaning. Genesis often explores the struggle against societal constraints, as seen in “In the Cage.” The desire to break free from these constraints aligns with existential themes of authenticity and self-actualization.

Cognitive Dissonance: This theory explains the mental discomfort experienced when holding contradictory beliefs or values. The band’s lyrics often highlight the conflict between societal expectations and personal beliefs, suggesting that many people live in a state of dissonance, which can lead to feelings of confusion and helplessness.

The Frankfurt School: This group of theorists examined how culture and media can serve as tools of social control, promoting conformity and passivity. Genesis’s critique of media manipulation in “Land of Confusion” aligns with these ideas, suggesting that the media can dull critical thought and promote a compliant populace.

By weaving these psychological concepts into their music, Genesis invites listeners to reflect on the implications of social control and the importance of individuality at what they seem to indicate, may be the end of days.

Are those “Lifeless Packages”, Machine-Men from the film Metropolis?

The Grand Parade of Lifeless Packaging” from Genesis’s Invisible Touch album definitely evokes the same sense of alienation and dehumanization that the Machine-Man represents in Metropolis.

Here’s how we can draw parallels:

Lifeless Packaging as a Symbol: The “lifeless packaging” in the song can be interpreted as a metaphor for the homogenization and commodification of human experience. Just like the Machine-Man is a manufactured replica of Maria, the packaging represents a standardized, mass-produced product that lacks individual character.

The Parade of Conformity: The “grand parade” suggests a sense of uniformity and conformity, where individuals are reduced to interchangeable units. This aligns with the themes of social control and the loss of individuality explored in both Metropolis and the Frankfurt School’s critiques of mass culture.

The Consumerist Society: The lyrics “We’re all just products in a supermarket” further highlight the idea of individuals being treated as commodities in a consumerist society. This echoes the Frankfurt School’s concerns about the culture industry and its role in shaping desires and values.

The Loss of Meaning: The song’s melancholic tone and the phrase “lifeless packaging” suggest a sense of emptiness and meaninglessness. This resonates with the Machine-Man’s lack of genuine human experience and the dehumanizing effects of technological advancement.

So, are these lifeless packages Machine-men? While not explicitly stated, the song’s imagery and themes certainly connect with the ideas of dehumanization, conformity, and the loss of individuality, which are central to the Machine-Man symbol.

What about Hawkwind’s concept of the Self-Police Parade?

The connection between Genesis’s “The Grand Parade of Lifeless Packaging” and Hawkwind’s “Self-Police Parade” is quite intriguing. Both works explore themes of societal control, conformity, and the dehumanizing effects of modern life. Here’s how they relate:

Self-Policing and Conformity

• Hawkwind’s Concept: The “Self-Police Parade” metaphorically represents how individuals internalize societal norms and expectations, effectively policing themselves to fit into a conformist mould. This reflects a broader commentary on how society influences personal behaviour and identity.
• Genesis’s Imagery: Similarly, in “The Grand Parade of Lifeless Packaging,” the imagery of lifeless, standardized products suggests a critique of how people become mere reflections of societal expectations, losing their individuality in the process.

Dehumanization

• Hawkwind’s Perspective: The “Self-Police Parade” can be seen as a commentary on how individuals become complicit in their own dehumanization, often sacrificing authenticity for acceptance.
• Genesis’s Message: The “lifeless packaging” in Genesis’s song echoes this sentiment, portraying individuals as products stripped of their unique qualities, emphasizing the emptiness that can accompany such conformity.

Cultural Critique

• Shared Themes: Both works critique the culture industry and the commodification of human experience. They highlight how societal pressures can lead to a loss of meaning and individuality, urging listeners to reflect on their roles within these systems.
• Artistic Expression: Through their respective artistic lenses, both Hawkwind and Genesis challenge audiences to consider the implications of living in a world where personal identity is often overshadowed by societal expectations.

Both “The Grand Parade of Lifeless Packaging” and the  “Self-Police Parade” can be considered to serve as describing the same observation of lifeless “robotic” people, both being controlled and controlling others in order to prevent each other from transcending beyond unspoken but “hardwired” limitations.

Biblical Apocalypse Link?

The themes in Genesis’s “The Grand Parade of Lifeless Packaging” can indeed evoke a sense of an “end of days,” and there are intriguing Biblical connections that can be drawn. Here’s how these elements intertwine:

Biblical Imagery and Themes

Apocalyptic Undertones: The notion of “lifeless packaging” can symbolize a world stripped of meaning and vitality, reminiscent of apocalyptic literature in the Bible, which often depicts a world facing judgment or transformation.

Loss of Humanity: The dehumanization reflected in the song parallels Biblical themes of moral decay and the consequences of straying from spiritual values, suggesting a society that has lost its way.

Connection to Genesis

The Lamb Lies Down on Broadway: This album, which includes the song, is known for its loose Biblical references. The title itself evokes the imagery of sacrifice and redemption, central themes in Christian theology.

Symbolism of the Lamb: In Christian tradition, the lamb often symbolizes innocence and sacrifice, which can be contrasted with the “lifeless packaging” that represents a loss of individuality and spirit.

End of Days Imagery

Cultural Commentary: The “grand parade” can be interpreted as a procession of individuals who have succumbed to societal pressures, echoing the idea of a world on the brink of collapse, much like the prophetic visions found in the Book of Revelation.

Reflection on Modern Society: The song critiques consumerism and conformity, suggesting that these forces could lead to a metaphorical “end” where true humanity is lost, aligning with apocalyptic warnings about the consequences of moral and spiritual neglect.

Further Reading

Title: Genesis – The Jazz Shelf
Author: Not specified
Description: This article explores the dark majesty of Genesis’ music, particularly how it evokes apocalyptic themes through its use of major and minor keys, creating a tense atmosphere.

Title: The “Ulysses” of Concept Albums
Author: The New Yorker
Date: 28 Feb 2014
Description: This piece discusses how Genesis’ albums represent a culmination of progressive rock’s excesses while also fracturing those themes, touching on the existential and apocalyptic elements present in their work.

Title: An Analysis of the so-called “simplicity” of the Genesis “pop” era
Author: Not specified
Date: 9 Sept 2021
Description: This analysis looks at the thematic shifts in Genesis’ music, particularly how their lyrics and themes became more whimsical yet retained an underlying complexity related to societal issues.

Title: Spotlighting Student Work #13: Followers of the Apocalypse
Author: Not specified
Date: 29 Nov 2018
Description: This article discusses how fantastical imagery in Genesis’ music has influenced modern apocalyptic literature, drawing parallels between their themes and those found in contemporary works.

Title: Apocalyptic Imagery in Byron’s “Darkness”
Author: Not specified
Description: This academic paper examines how apocalyptic themes in literature, including those found in Genesis’ music, reflect societal fears and the potential devolution of humankind.