The lyrics of Young the Giant’s “Cough Syrup” present an
interesting contrast between surreal images of abstract danger and the
quotidian flatness of everyday life. On the one hand, the song paints compelling scenes of illogical fear—“These fishes in the sea are staring at me,” and
“These zombies in the park they’re looking for my heart”—and on the other, it
names the unimportant inconsequentiality of it all, “Life is too short to even
care at all.” The paranoid images are explained in part as the hallucinogenic
effects of over-medication on the part of the song’s protagonist, effects he
seems to be waiting out. “I’m waiting for this cough syrup to come down, come
down,” he sings. But at the end of the song, the protagonist continues taking
the medicine in order to prolong the effects: “One more drop of cough syrup.”
The song, then, is primarily about the dissatisfaction with an unheroic and
uneventful life and the desire for something more epic, a desire that seems to
be normative—“If I could find a way to see this straight/I’d run away/To some
fortune I should have found by now.”
Life is a disappointment to the protagonist because it does not live up to his
poetic expectations, and, therefore, he turns to the cough syrup to escape it,
even if that escape fills him with dread and not happiness.
“Cough Syrup” points to one of the most interesting and
contradictory aspects of everyday life. Because so much of our life is lived
according to imposed schedules and routines, whether those be work or school
related, we feel that our private life is the place in which we really get to be
ourselves. In the freedom of the home, the weekend, the vacation, all those
unregulated times and spaces that we claim exclusively our own, we can be fully
expressive in the way we can’t be when he have to live and act by the rules of
others. Unfortunately, for many people, domestic life also seems to be filled
only with monotony and boredom. Many of us spend our free time looking for
diversions, either cheap or sophisticated, to fill up the hours that modern
capitalist society leaves for our consumption. Moreover, the sense that we
spend our free time in the same way that everybody else does is a familiar
doubt to most people. In short, the freedom of everyday life is compromised by
the sense that our private lives are as prosaic, common, and repetitive as our
work lives and that this phenomenon is widespread. In the space that we are
granted to be most ourselves, we wind up being like everybody else.
The structures of everyday life, Braudel called them. The facet
of life that we claim our own as the spontaneous expression of our very
personhood is in fact ordered according to normative categories that have
developed over time. Everything about the intimate and the domestic has a
social dimension that is historical in origin. If everyday life does not offer
an escape from the regulations and norms of capitalist modernity it is because
what constitutes the quotidian is historically inseparable from the development
of modernity itself. Hence the lure of one more spoon of cough syrup.