Creativity Quote by Ian Anderson

Anderson turns the Second Coming into a wardrobe change and a retail riot, and that’s the point: he drags the sacred down into the fluorescent-lit world where rebellion is sold by the yard. The image is funny on its face - Jesus in brown corduroys - but it’s also a sly jab at how quickly counterculture becomes uniform. Blue denim, once coded as workwear and then youthful defiance, ends up as the safest, most mass-produced costume on the planet. Overturning the racks is less about hating jeans than refusing the way “authenticity” gets standardized.

The corduroys matter. They signal an older, nerdier, arguably more English kind of nonconformity: textured, unfashionable, faintly academic. Anderson isn’t picturing Christ as a serene moral authority; he’s casting him as an accomplice in petty, symbolic vandalism. That intimacy (“He and I”) recasts religion from distant institution to personal dissent, a move that fits a rock musician’s instinct to reclaim spirituality from the polished apparatus around it.

Contextually, it lands in a late-60s/70s atmosphere where youth identity, consumer choice, and political posture were collapsing into each other. Anderson’s satire targets the market’s genius for turning every gesture into merch. If Jesus returned, the scandal wouldn’t be theology; it would be that even rebellion has become a brand aisle.