Hello P funkers.
Anybody got any idea who P is singing about on 'Good Love',when he says"Gustav Mahler No.3 is jamming on the box..."Who is that guy?
AND-while I'm on about Good Love-what's the deal with the part at the end where the guy says 2 the cab driver,"excuse me, but do u do the penguin?"
Just a couple of things that have been bugging me 4 a while
Thanks.

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from allmusicguide:

"An Austrian conductor and composer of symphonies and lieder cycles whose most notable works include Das Lied von der Erde (1909) and Symphony no. 9 (1909). Mahler was known for the length, depth, and painful emotions of his works. He loved nature and life and, based on early childhood experiences, feared death (family deaths, a suicide, and a brutal rape he witnessed). This duality appears in almost all his compositions, especially in the Kindertotenlieder ("Songs on the Deaths of Children"), which are actually about the loss of an innocent view of life. Mahler's orchestral music is clear, complex, and full of musical imagery, from the heavenly to the banal (the family lived near a military barracks, so march tunes sometimes appear; an argument was associated with the sound of a hurdy-gurdy outside the window). The "program" in the incredible symphonies is therefore that of personal tragedy and hope projected onto a universal scale. The traumas of the 20th century are expressed in the Symphony no. 9 (especially the "Adagio"); the elusiveness of beauty and its loss among harshness and modern tragedies are the subjects of the first and fifth symphonies. Mahler discovered the verbal expression of this auditory imagery in poems translated from the Chinese of the T'ang dynasty; Das Lied von der Erde ("The Song of the Earth") was the musical result, expressing the transience of all things in a mixture of warmth and severe beauty."

here's a description of Mahler's #3 from AMG as well:

'This is Mahler's longest symphony, in six movements and lasting nearly two hours. Mahler's concept of the symphony as a world unto itself finds its complete exposition here in the highly diverse styles and elements, creating problems of continuity and coherence that he did not completely solve. Like the two earlier symphonies, this one also originally carried a program, one that underwent many changes as the music developed. The primary theme of the Third is Nature and Man's place therein, and its principal literary inspirations are Das Knaben Wunderhorn (as in the previous symphony) and Nietzsche. Also, as in the Second Symphony, Mahler added words and voices to expand his means of expression, and used material from one of his earlier Wunderhorn Songs. The original program ran like this: "The Joyful Knowledge: A Summer Morning's Dream." I. Pan Awakes: Summer Marches In; II. What the Meadow Flowers Tell Me; III. What the Creatures of the Forest Tell Me; IV. What Night Tells Me (Mankind); V. What the Morning Bells Tell Me (the Angels); VI. What Love Tells Me; and VII. The Heavenly Life (What the Child Tells Me). The title and the fourth movement are based on Nietzsche, while the third, fifth, and seventh are derived from Das Knaben Wunderhorn. Ultimately, Mahler dropped the seventh movement and used it as the core around which he built the Fourth Symphony. The sum of this program represents Mahler's cosmological hierarchy at this point in his life and the Third Symphony as a whole is his most specific example of "world building" in artistic terms.
Kräftig. Entschieden. (Strongly and Confidently). This is the single longest sonata-form movement ever written. In its juxtaposition of funeral and military marches, popular elements, and evocations of nature it is also one of Mahler's weirdest and most original movements. Mahler sets bizarre, primordial and harsh brass and percussion rumblings depicting Pan's awakening in opposition to pastoral music of bird calls and light fanfares over tremulous strings and woodwind trillings. These elements are transformed into the ultimate example of Mahler's symphonic military marches, culminating in an overwhelming climax. The entire movement covers a vast soundscape of imagery, from bold, assertive proclamation to harsh and grotesque fugal passages, to despairing outcries, to a lighthearted and popular sounding march tune. It is a world unto itself, and as such, difficult to incorporate into a cohesive symphonic structure.

Tempo di Menuetto. (Minuet Tempo). This is a light and folk-like dance movement in the style of the comic Wunderhorn Songs. It stands in sharp contrast to the weighty first movement.

Comodo. Scherzando. Ohne Hast. (Moving, Scherzo-like, Without Haste). This movement quotes extensively from Mahler's song Ablösung im Sommer (Relief in the Summer) about a dead cuckoo. Its comic vein is interrupted twice, once by a sentimental posthorn solo, and later by a dramatic outburst symbolic of the great god Pan's intrusion into the peaceful summer.

Sehr langsam. Misterioso. Durchaus ppp. (Very Slow, Mysterious, Pianissimo Throughout). Here Mahler moves into a more metaphysical realm by setting Nietzsche's "Midnight Song" in this slow and haunting movement.

Lustig im Tempo und keck im Ausdruck. (Happy in Tempo, Saucily Bold in Expression). Boys and women's voices are used here to sing this angel's song about the redemption of sin from Das Knaben Wunderhorn. Mahler imitates church bells to delightful effect in this innocent and uplifting movement.

Langsam. Ruhevoll. Empfunden. (Slow, Peaceful, Deeply Felt). A majestic and awesome Adagio concludes the symphony in a hymn-like paean on love. It rises to a powerful climax as "Nature in its totality rings and resounds."'