Go Robot
Red Hot Chili Peppers Lyrics


Jump to: Overall Meaning ↴  Line by Line Meaning ↴

I called the teacher 'cause I wanted to confess it now
Can I make the time for me to come and get it blessed somehow
She spoke to me in such a simple and decisive tone
Her sweet admission left me feeling in position from

I don't take these things so personal
Anymore, anymore
I don't think it's irreversible
Anymore

Somebody hooted and they hollered can I buy a vowel
Don't let her catch you in the act of throwing in the towel
And when it's not as it appears to be, the flagrant foul
Can I put my fingers in your mouth before you start to growl

I don't think that it's so terrible
Anymore, anymore
I don't think that it's unbearable
Anymore

Tell me now, I know that it just won't stop
You will find your flow when you go robot
I want to thank you and spank you upon your silver skin
Robots don't care where I've been
You've got to choose it to use it, so let me plug it in
Robots are my next of kin

Sometimes I feel like I'm a sentimental trooper
She cried so hard, you know she looked like Alice Cooper

I don't think that it's so personal
Anymore, anymore
I don't think it's irreversible
Anymore

Tell me now, I know that it just won't stop
You will find your flow when you go robot

I want to thank you and spank you upon your silver skin
Robots don't care where I've been
You've got to choose it to use it, so let me plug it in
Robots are my next of kin

I'm kissing high and low
Our bodies like two dominoes
Can I come and get you when I hit you in your party clothes
Let's turn this cosplay holiday, what we obey
And now we're welcoming each other to this cabaret

I don't think that it's so terrible
Anymore, anymore
I don't think that it's unbearable
Anymore

Tell me now, I know that it just won't
Stop
You will find your flow when you go robot
I want to thank you and spank you upon your silver skin
Robots don't care where I've been




You've got to choose it to use it, so let me plug it in
Robots are my next of kin

Overall Meaning

The lyrics to the song "Go Robot" by Red Hot Chili Peppers are full of metaphors and allusions that paint a picture of a person letting go of their inhibitions and embracing their inner desires. The opening lines suggest a confession to a teacher, but it's not clear what the confession is about. The singer then talks about not taking things personally anymore, and not thinking that anything is irreversible. This could suggest that they've made peace with their past mistakes and are ready to move on.


The chorus repeats the lines "Tell me now, I know that it just won't stop/You will find your flow when you go robot." Here, the "robot" metaphor suggests giving into one's primal instincts and letting go of societal constraints. The lines "Robots don't care where I've been/You've got to choose it to use it, so let me plug it in/Robots are my next of kin" further emphasize this idea of embracing one's most primal desires.


Later in the song, the metaphor shifts to robots being the singer's "next of kin," suggesting a sense of connection and belonging with these primal desires. The image of "kissing high and low/Our bodies like two dominoes" reinforces the idea of giving into physical desires and the line "Let's turn this cosplay holiday, what we obey/And now we're welcoming each other to this cabaret" suggests a playful and flirtatious atmosphere.


Overall, "Go Robot" is a song about embracing one's primal instincts and letting go of societal expectations. The robot metaphor suggests a sense of freedom and detachment from societal norms, allowing the singer to fully explore their desires.


Line by Line Meaning

I called the teacher 'cause I wanted to confess it now
I reached out to someone for help because I needed to admit something to them right away.


Can I make the time for me to come and get it blessed somehow
Is there a way I can find the time to make things right and seek redemption for what I've done?


She spoke to me in such a simple and decisive tone
The person I talked to communicated clearly and confidently, making me feel more secure.


Her sweet admission left me feeling in position from
Hearing their kind and understanding response made me feel supported and empowered.


I don't take these things so personal
I don't let things affect me on such a deep, emotional level anymore.


Anymore, anymore
Not now, not ever again.


I don't think it's irreversible
I no longer believe that things can't be undone or fixed.


Somebody hooted and they hollered can I buy a vowel
Someone made a noise and asked if they could buy a vowel, distracting from the matter at hand.


Don't let her catch you in the act of throwing in the towel
Don't let someone catch you giving up or quitting.


And when it's not as it appears to be, the flagrant foul
When something is not what it seems, it can cause a big problem.


Can I put my fingers in your mouth before you start to growl
Before you get angry or upset, can I try to calm you down in a small way?


I don't think that it's so terrible
I don't believe that it's as bad as it seems.


I don't think that it's unbearable
I don't feel like I can't handle it anymore.


Tell me now, I know that it just won't stop
Please tell me the truth, even if it's uncomfortable or difficult.


You will find your flow when you go robot
You will feel more comfortable and confident if you approach things in a systematic, logical way.


I want to thank you and spank you upon your silver skin
I want to express my love and appreciation for you, even if you're not human.


Robots don't care where I've been
Robots don't judge people based on their past mistakes or experiences.


You've got to choose it to use it, so let me plug it in
You have to make an effort to use the tools that can help you.


Robots are my next of kin
I feel a sense of kinship or connection to robots.


Sometimes I feel like I'm a sentimental trooper
Sometimes I feel like I'm fighting for something with deep emotional significance.


She cried so hard, you know she looked like Alice Cooper
The person I care for was visibly upset, and it was difficult to see them in pain.


Tell me now, I know that it just won't stop
Please be honest with me; the situation won't just go away on its own.


You will find your flow when you go robot
You will feel more comfortable and confident if you approach things in a systematic, logical way.


I'm kissing high and low
I'm experiencing a range of emotions, from elated to despondent.


Our bodies like two dominoes
Our movements are synchronized, like a chain reaction.


Can I come and get you when I hit you in your party clothes
Can I be there for you when life gets tough or when you're feeling happy and carefree?


Let's turn this cosplay holiday, what we obey
Let's make this playful or imaginative scenario a reality, something we can enjoy together.


And now we're welcoming each other to this cabaret
We're celebrating and embracing each other among the chaos of life and society.




Lyrics © Peermusic Publishing
Written by: ANTHONY KIEDIS, CHAD GAYLORD SMITH, JOSH ADAM KLINGHOFFER, MICHAEL PETER BALZARY

Lyrics Licensed & Provided by LyricFind
To comment on or correct specific content, highlight it

Genre not found
Artist not found
Album not found
Song not found
Most interesting comments from YouTube:

@theamberheardplaylist6768

@@user-vn4tv1rm5k Sexual Harassment: Music



Sexual Harassment: Music -- Our report on the state of the music industry

By Melissa Rawlins Updated December 06, 1991 at 05:00 AM EST



There’s a word for it in the music-video business, where male fantasies of young, compliant women are the very heart of commerce. ”That sexy-babe, bimbo kind of stuff that the labels always want,” says a woman who’s made rock videos for years, ”my friends and I in the industry refer to it as ‘babeage.’ It’s part of just an overwhelming predeliction for sleazy male behavior in this business.”

Babeage. What would rock & roll be without it? Just peek into the fantasy world of music videos. What you see isn’t real, but real people produce those videos, and the often graphic, violent sexuality they contain. So it’s no surprise that babeage is a buzzword. Insiders say that in the world of pop and rock-an insular world ruled by six major recording conglomerates, in which only one woman (Sylvia Rhone, chairman of Atco/East West) is at the top-sexual harassment is not just rampant but epidemic, more pervasive than in any other branch of entertainment.



Ugly stories come not just from the lowly but from people at all levels of the business. There’s Mary Cary, guitarist for Rosary, a female hard-rock band, describing a pawing studio owner who demanded sex in exchange for recording time. ”He told us that if we slept with him, he would get us a label deal, and he was just a sleazy little studio guy with no power.” And the notoriously raunchy band the Red Hot Chili Peppers, reversing the roles in an interview for Creem with journalist Nina Malkin, bombarded her with lewd questions about her sex life. (”They were just goofing,” their manager says.) At a radio industry convention last year, top radio consultant Randy Michaels hired a stripper, disguised as a waitress, to have her shirt ripped off during a panel on contemporary hit radio. And an executive at a major label made assignments to employees while playing pornographic tapes on his VCR — ”He did it just to humiliate us,” one woman said.

”The industry promotes the bimbo image very well,” says an ex-label executive, who left the business because of what she characterized as its unacceptably sexist environment. ”The man in music spends his day promoting bimbos on album covers, and the women in the office are viewed as just more of those bimbos. Not all men see it this way, obviously. But the violence is there. In this business, people are reduced to things, and it’s awful.”



That’s an attitude that often starts near the very top — in the offices, say, of an Abbey Konowitch, 40, who in the mid-’80s was vice president for video and artist development for Arista Records. In July 1987, Arista promoted a woman named Joanne Smat into Konowitch’s department, as national manager of artist development. Although several women alleged to Entertainment Weekly reporters that Konowitch verbally abused female coworkers, Smat is the only one willing to go on the record with charges. Because she has since married and left the music business to become an advertising executive, she no longer feels her career is threatened. Other sources, male and female, have confirmed Smat’s story but stressed that if Konowitch found out their names, their careers would be ruined.

”After a very short time it became apparent that there was a certain way Abbey operated, and that I was not going to be able to handle it,” says Smat. His method of operation, she says, included repeatedly asking such questions as ”Can I bite you?” ”Can I touch your thigh?” ”Can I bite your ass?” According to Smat, he predicted that she would sleep with him on a company trip to Maui. She decided to stay home. The day Konowitch began instructing an intern in ”shooting rubber bands at my ass,” Smat says, she was so fed up she walked out of the office.

She says she asked a female executive for advice and was sent to a vice president. He said he’d give her a transfer, effectively a demotion, to a secretarial position. In November 1987, she consulted lawyer Michael Holland.

”He knew of other cases where women had been physically fondled and the lawyers weren’t able to make (the charges) stick because of difficulties of proof,” she says. ”He basically said the law doesn’t work and you don’t have a choice.” ”I advised her that since she was considering other career options anyway, maybe she should just move on,” confirms Holland. Smat resigned in January 1988.

Konowitch declines to comment. His attorney denies Smat’s allegations and claims Arista has no record of any formal complaints or discussions of Smat’s charges. A woman who worked with Smat and Konowitch maintains, however, that there were several formal meetings between Smat and a top Arista manager. ”One of the vice presidents,” she says, ”called up every woman who worked with Abbey and said, ‘Does he really do these kinds of things?’ And all of us said yes. Their solution was to ask us if we wanted to transfer to other departments.”

”On a day-to-day basis Abbey would say gross things,” she says. ”If you asked him for a vacation day, he’d say, ‘Scratch my back and I’ll think about it.’ And he was serious. There were two ways you could handle it. You could just laugh or ignore it or swear at him, or you could really let it get to you. Joanne didn’t want to put up with it — and she shouldn’t have had to — and she complained.”

”Complaints were made by Joanne to me,” says Roy Lott, executive vice president and general manager of Arista Records. ”The situation was analyzed. I, and others, talked to various people. And we found no basis for taking any action against Abbey Konowitch.”

Konowitch’s career apparently has not been affected by any of the complaints. He is now senior vice president for music and talent at MTV, where he decides which bands’ videos get airtime. Last year he was selected as one of Entertainment Weekly‘s Power 101 (he was No. 25).

Other men in music facing harassment charges have fared less well.

Marko Babineau, 40, former general manager of the Geffen Records’ DGC label, resigned unexpectedly in September ”to be with his family.” On Nov. 14 his former assistant, Penny Muck, 28, filed suit against him for sexual harassment, intentional infliction of emotional distress, and assault and battery. She charged, among other things, that Babineau touched her breasts and buttocks, ejaculated on a magazine he had placed in front of her, placed his erect penis in her ear, and ordered her to clean up his semen. Other women who worked for Babineau have told similar tales. His attorney has not returned this magazine’s calls.



@theamberheardplaylist6768

@@user-vn4tv1rm5k Mike Bone, 42, former copresident of PolyGram’s Mercury Records, lost his job Nov. 1, two days before allegations surfaced in the Los Angeles Timesabout his alleged misconduct in the office. In July 1990, while president of PolyGram’s Island Records, he allegedly propositioned his then administrative assistant, Lori Harris, 28, at a company party, and when he was rebuffed made it clear that her job was in jeopardy. The next morning he fired her. ”His attitude was ‘That was pleasure; this is business,”’ says Harris, who filed a harassment suit against Bone and Island Records in July, charging violation of the New York State human rights laws. ”I view him as kind of pathetic at this point,” she says, noting that she was unemployed for six months and still has found only part-time work. ”What’s ridiculous is that no one stopped him. Island Records and PolyGram don’t care what happened to me. They moved him from president of a company where he had been accused of harassing and firing his assistant to president of a new company (Mercury) where no one knew what he’d done. He got to start over.” Bone, who has denied Harris’ charges in the past, referred a reporter to his lawyer, who said Bone would not respond.

Jeff Aldrich, 41, recently RCA’s senior vice president of A&R, was let go in December 1990 as a result of multiple sexual harassment complaints. At a convention in Scottsdale, Ariz., Aldrich reportedly made passes at several female employees, throwing one of them onto a bed and physically molesting her. ”Conventions are about teasing, sexual kind of stuff,” says an employee, ”but he was crossing the line. He was sticking his hand down blouses and up skirts. So anyway, we all get back from the convention Sunday and on Monday there’s a very weird vibe in the office. The woman had complained that she wanted him out of there, and they did an inquiry.” Says an RCA executive, ”When some double-digit number of women complained, we knew we had to fire him.” Aldrich is now an executive in A&R at Giant Records. A remorseful Aldrich confirmed that he was ”fired from RCA for an incident that happened at a convention that had something to do with sexual harassment.” A spokesman for Aldrich said it is ”important to know it was while he was inebriated,” and he has since entered a drug and alcohol rehabilitation program.

High-powered L.A. lawyer Abe Somer, 53, former head of the music department at the firm of Mitchell, Silberberg & Knupp, recently settled a harassment suit out of court. His former secretary, Phyllis Finkbeiner, complained that Somer instructed her to bring the office mail to his house, where he greeted her naked at the door. A former summer associate at the firm alleged similar treatment in an affidavit supporting the suit. At a poolside meeting at Somer’s home, she said, he told her, ”You seem a little uptight. If Mick Jagger and (producer) Richard Perry were sitting here, I don’t know if they’d be comfortable with you. If they wanted you to kiss them or give them a hand job, you just do it.” Managing partner Bill Cole says Somer no longer has an office at the firm but is retained on ”of counsel” status. Somer is now part of the legal department at Rondor Music Publishing Co.Somer’s attorney speculated that the allegations were ”hearsay from disgruntled former employees.”

These stories certainly imply that women are routinely abused in the music business. They also say that men can be fired if enough women bring charges against them, even though the charges are untested in any court or other formal proceeding. And now that several lawsuits have hit the headlines, it seems the music business has reached a point of no return. But will any changes in the acceptability of babeage translate into real power and freedom for women?

”If we maintain our fearfulness and keep quiet about this,” says a female former executive at a major label, ”things are not going to change.”

She’s afraid to give her name.

— Additional reporting by Cheryl McCall, Joanna Powell, and Jean Rosenbluth



@amandameirelesalmeida

I called the teacher 'cause I wanted to confess it now
Can I make the time for me to come and get it blessed somehow
She spoke to me in such a simple and decisive tone
Her sweet admission left me feeling in position from
I don't take these things so personal
Anymore, anymore
I don't think it's irreversible
Anymore
Somebody hooted and they hollered can I buy a vowel
Don't let her catch you in the act of throwing in the towel
And when it's not as it appears to be, the flagrant foul
Can I put my fingers in your mouth before you start to growl
I don't think that it's so terrible
Anymore, anymore
I don't think that it's unbearable
Anymore
Tell me now, I know that it just won't stop
You will find your flow when you go robot
I want to thank you and spank you upon your silver skin
Robots don't care where I've been
You've got to choose it to use it, so let me plug it in
Robots are my next of kin
Sometimes I feel like I'm a sentimental trooper
She cried so hard, you know she looked like Alice Cooper
I don't think that it's so personal
Anymore, anymore
I don't think it's irreversible
Anymore
Tell me now, I know that it just won't stop
You will find your flow when you go robot
I want to thank you and spank you upon your silver skin
Robots don't care where I've been
You've got to choose it to use it, so let me plug it in
Robots are my next of kin
I'm kissing high and low
Our bodies like two dominoes
Can I come and get you when I hit you in your party clothes
Let's turn this cosplay holiday, what we obey
And now we're welcoming each other to this cabaret
I don't think that it's so terrible
Anymore, anymore
I don't think that it's unbearable
Anymore
Tell me now, I know that it just won't
Stop
You will find your flow when you go robot
I want to thank you and spank you upon your silver skin
Robots don't care where I've been
You've got to choose it to use it, so let me plug it in
Robots are my next of kin



@aboamr1

[Verse 1]
I called the teacher cause I wanted to confess it now
Can I make the time for me to come and get it blessed somehow
She spoke to me in such a simple and decisive tone
Her sweet admission left me feeling in position from

[Pre-Chorus 1]
I don't take these things so personal
Anymore, anymore
I don't think it's irreversible
Anymore

[Verse 2]
Somebody hooted and they hollered can I buy a vowel
Don't let her catch you in the act of throwing in the towel
And when it's not as it appears to be, the flagrant foul
Can I put my fingers in your mouth before you start to growl

[Pre-Chorus 2]
I don't think that it's so terrible
Anymore, anymore
I don't think that it's unbearable
Anymore

[Chorus]
Tell me now, I know that it just won't stop
You will find your flow when you go robot
I want to thank you and spank you upon your silver skin
Robots don't care where I've been
You've got to choose it to use it, so let me plug it in
Robots are my next of kin

[Verse 3]
Sometimes I feel like I'm a sentimental trooper
She cried so hard, you know she looked like Alice Cooper

[Pre-Chorus 3]
I don't think that it's so personal
Anymore, anymore
I don't think it's irreversible
Anymore

[Chorus]
Tell me now, I know that it just won't stop
You will find your flow when you go robot
I want to thank you and spank you upon your silver skin
Robots don't care where I've been
You've got to choose it to use it, so let me plug it in
Robots are my next of kin

[Verse 4]
I'm kissing high and low
Our bodies like two dominoes
Can I come and get you when I hit you in your party clothes
Let's turn this cosplay holiday, what we obey
And now we're welcoming each other to this cabaret

[Pre-Chorus 2]
I don't think that it's so terrible
Anymore, anymore
I don't think that it's unbearable
Anymore

[Chorus]
Tell me now, I know that it just won't
Stop
You will find your flow when you go robot
I want to thank you and spank you upon your silver skin
Robots don't care where I've been
You've got to choose it to use it, so let me plug it in
Robots are my next of kin



All comments from YouTube:

@AlainBruno

Red Hot Chili Peppers never disappoint.

@isabel-hq5qu

they are my favorite rock band of all times!

@miguellet6034

I LIKE THIS SONG

@ryandcranchdel7046

your picture is disappointing though

@alphabravo431

+MrOnionCock the album with Navarro is actually some of the best music they have ever released, unlike this complete rubbish.

@alphabravo431

+MrOnionCock they say it was a bad time personally. ie they were disjointed, Anthony had relapsed, flea was having person problems, John had left etc etc. One hot minute is in my top three favourite RHCP records

28 More Replies...

@nintenbro7005

this is SO RHCP!!!

@442277100

Too rhcp...

@movgto3392

NintenBro Official And a touch of BB(Broken Bells)

@Collinzmusic

Lenny 256 yeah.....no....too poppy.... 😢

More Comments

More Versions