Tag Archives: Phrasal Verbs

Take Me Out, in Love and Despair

If you want to feel your brain dancing, listen to Franz Ferdinand’s Take Me Out. The lyrics give you opposite meanings for the same phrase and your brain begins to swerve between them. It’s the closest most of us get to being Schrödinger’s cat.

As soon as you know that the phrasal verb Take Me Out is the title of Franz Ferdinand’s song, your brain starts shuffling through all the possible meanings. You wait patiently for the singer, Alex Kapranos, to provide a clue and a context for you to choose the right one.

Franz Ferdinand are known for their surreal lyrics, so Take Me Out could be an unloved library book‘s monologue, or a dustbin feeling restless on collection day. All meanings are possible until Alex Kapranos makes things clear.

Alex plays you, like a cat with a ball of wool. He starts his song with words of love: ‘So if you’re lonely/You know I’m here waiting for you.’ 

“Aah,” thinks your brain. This time, for this song, take me out must mean, as the Cambridge Dictionary has it: ‘invite me somewhere to do something that you’ve planned and will pay for‘ in the sense of ‘take me out on a romantic date.’ Forget library books, dustbins or bank loans. Focus on romance.

Just as you relax into the ‘right’ meaning, Alex throws you a surprise. He sings: ‘I’m just a cross hair‘ and you feel your brain turning somersaults. Suddenly, in a love song, take me out also means ‘kill me or destroy me,’ just as sniperstake out‘ enemy soldiers.

As the song continues, you feel yourself swerving between the possible meanings of take me out. Each time Alex sings the phrase – and there are 7 times – you make your choice between love and death. You choose and you understand. Most times you hold both meanings in your head at once. Love and destruction.

One question – as Alex sings, do you ever hear him shout? Watch his face:

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Never Trust a Snake with a Phrasal Verb

phrasal verb is a gift to a singer. The prepositions, the up,the in, the out or the over of phrasal verbs, are all ripe for attention. Tiny words repay your interest in spades when you sing.

Listen to Oscar Brown Jr.‘s jazz classic The Snake. A kind-hearted woman and a snake express their opposing desires, using the same phrasal verb: take in. One of them intends rescue and retrieval, the other is thinking of treachery. Their intentions shape their mouths when they form that in – but the woman isn’t paying attention:

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