"Because God only knows why people like what they like and don't like something else"
About this Quote
Elliott Smith’s line lands like a shrug that’s been sharpened into a philosophy. “Because God only knows” borrows a familiar, almost throwaway phrase and then quietly weaponizes it: taste isn’t rational, and pretending it is can turn cruel fast. In a culture that treats preferences as arguments to be won (best album, worst movie, guilty pleasure), Smith’s framing makes liking and disliking feel closer to weather than logic - something you live through, not something you litigate.
The subtext is classic Smith: intimacy without comfort. He’s not romanticizing mystery; he’s pointing to the loneliness inside it. If people can’t explain why they’re drawn to one song and unmoved by another, then validation becomes unstable. You can do everything “right” and still not be chosen. That’s a quietly devastating idea for an artist whose work was often received as intensely personal confession: if taste is unknowable, so is the audience’s love, so is the audience’s rejection.
The religious language does double duty. It nods to “God Only Knows” (the Beach Boys’ devotional pop masterpiece), but Smith’s version drains the certainty out of devotion. “God” here isn’t a comfort; it’s a placeholder for the limits of explanation. In the late-90s/early-2000s indie era - when authenticity was currency and critics loved clean narratives - Smith offers a messier truth: people respond to sounds, voices, and vibes for reasons they can’t defend. That unpredictability is maddening, and it’s also the only honest basis for art to matter.
The subtext is classic Smith: intimacy without comfort. He’s not romanticizing mystery; he’s pointing to the loneliness inside it. If people can’t explain why they’re drawn to one song and unmoved by another, then validation becomes unstable. You can do everything “right” and still not be chosen. That’s a quietly devastating idea for an artist whose work was often received as intensely personal confession: if taste is unknowable, so is the audience’s love, so is the audience’s rejection.
The religious language does double duty. It nods to “God Only Knows” (the Beach Boys’ devotional pop masterpiece), but Smith’s version drains the certainty out of devotion. “God” here isn’t a comfort; it’s a placeholder for the limits of explanation. In the late-90s/early-2000s indie era - when authenticity was currency and critics loved clean narratives - Smith offers a messier truth: people respond to sounds, voices, and vibes for reasons they can’t defend. That unpredictability is maddening, and it’s also the only honest basis for art to matter.
Quote Details
| Topic | Free Will & Fate |
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