Born in London, he is the son of writer Ann Dexter-Jones and real estate tycoon Laurence Ronson. His mother later married Mick Jones, lead guitarist of multiplatinum selling rock band Foreigner. He has two sisters: fashion designer Charlotte Ronson and DJ Samantha Ronson. He spent his childhood in a wealthy suburb of London where he lived on the same street as Paul McCartney‘s family. When his parents divorced at age 8, he moved to New York, where he made friends with John Lennon's son, Sean Lennon.
Ronson played guitar and drums from an early age, but it wasn't until moving to New York City with his mother that Ronson discovered DJ culture. At age 16, already a fan of such popular hip-hop artists as Run-D.M.C. and the Beastie Boys, Ronson began listening to the various hip-hop mixtapes released every few months by DJs. Inspired, Ronson confiscated his father's record collection and began trying his hand at mixing.
The young DJ with the diverse taste soon caught the ears and eyes of various socialites and New York celebrities, including fashion designer Tommy Hilfiger, who featured Ronson along with other sons and daughters of celebrities in a 1997 fashion campaign. A year later, hip-hop mogul Sean "P. Diddy" Combs hired Ronson to DJ his fabled 29th birthday bash. These and other high-profile gigs boosted Ronson's "hip quotient" and helped promote his more serious-minded music career. Fusing his eclectic turntable skills with his knowledge of musical instruments and songwriting, Ronson eventually embarked on his first solo project. Featuring such diverse guest artists as dancehall rapper Sean Paul, hip-hop artist Mos Def, Jack White of the White Stripes, and Rivers Cuomo of Weezer, Ronson's debut album, Here Comes the Fuzz, bowed for Elektra in 2003.
Ronson's second album, Version, adds to his eclectic style. In this sophomore album, Ronson fuses a range of musical genres from Daniel Merriweather to Ol' Dirty Bastard to Phantom Planet with an up tempo contemporary funk sound. All the songs on this album are covers of previous Billboard top-10 pop songs, with a jazzy twist.
Career
Attending Vassar College and then New York University (NYU), Ronson became a regular at downtown hip-hop spots and made his name as a DJ on the New York club scene in 1993. He was soon one of the most respected DJs and was being called on for celebrities' private parties. Ronson is known for his diverse, genre-spanning selection, influenced by both the hip-hop scene of New York and the more rock influence of the UK, amongst others.
He moved on, however, to producing music. After producing Nikka Costa's song "Everybody Got Their Something," Ronson signed a record contract with Elektra Records. His first album Here Comes the Fuzz was released in 2003 and was a critically acclaimed success that featured artists of all genres, despite initially poor sales. The most well known song from the album, " Ooh Wee" samples " Sunny" by Boney M and features Nate Dogg, Ghostface Killah, and Trife Da God. He has since produced multiple songs on the albums of singers Christina Aguilera, Amy Winehouse, Lily Allen, and Robbie Williams.
In 2004, he formed his own record label, Allido Records, a subsidiary of Sony BMG's J Records, along with his longtime manager Rich Kleiman. The first artist he signed to Allido was rapper Rhymefest, most well-known for winning the Grammy for co-writing Kanye West's "Jesus Walks".
In March 2006, Ronson released a cover of Radiohead's " Just" as a single. In certain areas, such as the UK, it gained major radio play. It also saw release as part of Exit Music: Songs with Radio Heads, a full Radiohead covers CD, in April, later appearing on Ronson's second album, Version, which was released in the UK on 16 April 2007. It includes other covers of a diverse selection of rock & pop songs including: Kaiser Chiefs' " Oh My God" (featuring guest vocals from Lily Allen), an instrumental version of Coldplay's " God Put A Smile Upon Your Face", Britney Spears' "Toxic", Ryan Adams' "Amy", Maxïmo Park's " Apply Some Pressure", The Zutons' "Valerie" and Kasabian's "L.S.F.".
Bang Bang Bang
Mark Ronson Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Bang, bang, bang
Feathers, I'm plucking feathers
One by one, by one
No more skylarking, around my head
Your information
But there's no hiding it, behind moulting feathers
On the plane, on my brain, 'bout to do the sho'
40k contract, take it out the do'
Dice, symbolize my life, roll 'em on the flo'
From your grubby hands, as you hand the grandstand
You live a shitty life, we live a bon, bon vie
Hotter than the book, while we watch the tv
Think you got us fooled, ooh never again
First time, shame on me, second time, your time will end
No way, bang your dead, here's your silhouette
Je te plumerai la, tete
Je te plumerai la, tete
Bang your dead, alouette, here's your silhouette
Je te plumerai la, tete
Je te plumerai la, tete
No way, no, (the clock) it's ticking forward
No way, it's just a cruel, cruel world
Cruel world is fittin', they got us all hittin'
With late night divisions, and lab app decisions
We're faced with decisions, to fight a fricassee
And you've clearly decided, on how to handle me
Difficile, imbecile, is it fake, is it real
Are we dying on our feet, are we trying in our sleep
There's a rumour goin' 'round, 'bout the suits runnin' town
If you look into the sky, them birds fly high, high, high
Numbers, you got that number
You're logging hours, and don't see the big picture
Over your shoulder, you'll get no last words
Because it's too late, you've clipped your own wings (your own wings)
No way, bang your dead, here's your silhouette
Je te plumerai la, tete
Je te plumerai la, tete
Bang your dead, alouette, here's your silhouette
Je te plumerai la, tete
Je te plumerai la, tete
We're never gonna, believe in, the stories, that you're weavin'
We're never gonna, believe in, the stories, that you're weavin'
We're never gonna, believe in, the stories, that you're weavin'
We're believin' in the proof, we're believin' in the truth
We're believin' in each other, not you, you, you
Stories (you with the tall tales), how many stories (so many tall tales)
We climb the structure (you scale the ladder)
You build it higher (you make us madder)
We take our aim (so now we're bearin' off)
You perch above your nest (in your charms)
The stories in your head (it's a crazy bald head)
Yeah, that's what got you dead
No way, no, (the clock) it's ticking forward
No way, it's just a cruel, cruel world (cruel, cruel world)
No way, bang your dead, here's your silhouette
Je te plumerai la, tete
Je te plumerai la, tete
Bang your dead, alouette, here's your silhouette
Je te plumerai la, tete
Je te plumerai la, tete
Un, deux, trois
No one ever does it like that anymore
Bang, bang, bang
When feathers fly, you deny everything (alouette)
Un, deux, trois
No one ever does it like that anymore
Bang, bang, bang (alouette)
When feathers fly, you deny everything yo
The lyrics of "Bang Bang Bang" by Mark Ronson revolve around themes of deceit, power, and betrayal in the music industry. The song begins with the counting of "un, deux, trois," which is French for "one, two, three," and a command to turn up the music. The next lines "Feathers, I'm plucking feathers, one by one, by one. No more skylarking around my head. Your information, but there's no hiding it behind moulting feathers," suggests that the singer is uncovering secrets and lies, and the "feathers" symbolize the shedding of layers of falsehood to reveal the truth.
The song continues to describe the corrupt and cutthroat nature of the music industry, with lines like "You live a shitty life, we live a bon, bon vie," suggesting that the industry insiders live a glamorous life while exploiting and betraying artists. The lyrics also reference a "40k contract," which implies the unfair financial compensation received by artists. The chorus, "No way, bang your dead, here's your silhouette. Je te plumerai la, tete" is French for "I'll pluck your head," and suggests the consequences of deceit and betrayal in the industry. The lyrics ultimately present a message of unity amongst those who have been exploited, with lines like "We're believin' in the proof, we're believin' in the truth. We're believin' in each other, not you, you, you."
Line by Line Meaning
Un, deux, trois (uh ah, turn it up a little bit more)
Bang, bang, bang
Starting with a countdown and increasing tempo, the song talks about a situation where the artist is getting ready for something big, and the excitement is getting higher and higher.
Feathers, I'm plucking feathers
One by one, by one
No more skylarking, around my head
Your information
But there's no hiding it, behind moulting feathers
The artist talks about getting rid of irrelevant information and distractions. He is focusing on what truly matters and knows that hiding behind deceiving information won't work.
On the plane, on my brain, 'bout to do the sho'
40k contract, take it out the do'
Dice, symbolize my life, roll 'em on the flo'
From your grubby hands, as you hand the grandstand
You live a shitty life, we live a bon, bon vie
Hotter than the book, while we watch the tv
Think you got us fooled, ooh never again
First time, shame on me, second time, your time will end
The artist talks about being on the verge of signing a big contract and how it will change their lives. He also mentions how others try to deceive them but they won't fall for it again. The artist is also aware of how they are living better lives while others are living, in his words, a 'shitty life.'
No way, bang your dead, here's your silhouette
Je te plumerai la, tete
Je te plumerai la, tete
Bang your dead, alouette, here's your silhouette
Je te plumerai la, tete
Je te plumerai la, tete
The chorus of the song talks about the consequences of trying to deceive or harm someone, and how it will leave them with their silhouette and no power. The phrase 'Je te plumerai la, tete' is French for 'I will pluck your head'.
No way, no, (the clock) it's ticking forward
No way, it's just a cruel, cruel world
In the second verse, the artist talks about the harsh realities of the world, but also how there is a time limit for everything. They are determined to succeed despite the cruelty of the world.
Cruel world is fittin', they got us all hittin'
With late night divisions, and lab app decisions
We're faced with decisions, to fight a fricassee
And you've clearly decided, on how to handle me
Difficile, imbecile, is it fake, is it real
Are we dying on our feet, are we trying in our sleep
There's a rumour goin' 'round, 'bout the suits runnin' town
If you look into the sky, them birds fly high, high, high
The third verse highlights how difficult the world can be and how people must make important decisions. It talks about rumors of power in the city, and wonder whether people are allowed to succeed or not. The artist refers to being clever while also recognizing the challenge of the situation.
Numbers, you got that number
You're logging hours, and don't see the big picture
Over your shoulder, you'll get no last words
Because it's too late, you've clipped your own wings (your own wings)
In the last verse, Ronson talks about people focusing solely on numbers without understanding the big picture. He warns those people that ultimately they will be paying the price, and so it is too late for them. 'Clipped your own wings'' means you caused your own problems.
We're never gonna, believe in, the stories, that you're weavin'
We're never gonna, believe in, the stories, that you're weavin'
We're never gonna, believe in, the stories, that you're weavin'
We're believin' in the proof, we're believin' in the truth
We're believin' in each other, not you, you, you
The bridge emphasizes that the listeners will no longer believe in lies and deceptions. They are choosing truth over fiction, and to put trust in each other rather than being misguided by manipulators. This belief also includes that stories uveiled have been proved to be true.
Stories (you with the tall tales), how many stories (so many tall tales)
We climb the structure (you scale the ladder)
You build it higher (you make us madder)
We take our aim (so now we're bearin' off)
You perch above your nest (in your charms)
The stories in your head (it's a crazy bald head)
Yeah, that's what got you dead
The outro of the song repeats the idea of stories and lies. The artists describe the hierarchy and the one who tells multiple stories while climbing the ladder while other people aim to succeed. Meanwhile, the person perches high in their nest but they ultimately fail due to their own deceitful nature.
Lyrics © BMG Rights Management, Universal Music Publishing Group, Peermusic Publishing, WORDS & MUSIC A DIV OF BIG DEAL MUSIC LLC, Kobalt Music Publishing Ltd.
Written by: Peter Keush, Nick Hodgson, Mark Ronson, Kamaal Fareed, Homer Steinweiss, Amanda Warner, Alex Greenwald
Lyrics Licensed & Provided by LyricFind
Bryan Valero Gutierrez
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wooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooow
Mariam Jishkariani
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waaw :o <3 <3
Jaẙ Är Aniñon Capuyan
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mark ronson jod perte hahah :) :) :)
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