note: This post will soon be followed by a more general "blog-conscious" post about the state of our blog and a call for revitalization/re-conceptualization of Epic Mail.
Maybe I've just been back in my hometown for too long and am currently being pulled out to sea by the riptide of high school nostalgia. Maybe I've gotten burned out on all the disco-infused music I listened to in college and no longer want to listen to music with "This would be so sweet to dance to at the party tonight" in mind. Or maybe I just miss my epic bros (but not enough to go see "I Love You, Man", Dana Stevens). Whatever the reason(s), I'm currently loving the new and perhaps brief resurgence of slacker-rock that allows me to relive the glory days of late night driving/screaming to Pavement, Weezer (ugh), Built to Spill, and Modest Mouse. I can only listen to that collection of albums so much before I feel anachronistic and trapped by my musical past.
The new slacker-rockers I'm referring to are Cymbals Eat Guitars and Suckers. Both bands have been all over Pitchfork et al, and they both are living up to the hype. I don't know their back stories that well and honestly I don't really care that much. CEG (sorry, I'm only capable of typing that awful name once) have an unbelievable album out now in digital form called "Why There Are Mountains." All nine tracks perfectly synthesize the cosmic guitars of BTS, the jangle and rambling of Pavement, and the grit both vocally and production-wise of Modest Mouse but without sounding merely derivative; itt plays like a lost gem of the mid-nineties. The other band, Suckers, from Brooklyn, are releasing an EP this Spring and seem to have a similar musical approach. "It Gets Your Body Movin'" has plenty of desperate group vocals that would allow a car full of bros to, in a slight revision of Ari from Entourage, "yell it out."
One last bit: I realize these bands both have horrible names. The only thing I can say to that is that their predecessors have equally stupid names when you think about them for more than two seconds. Pavement? I can't even think of a humorous situation in which bandmates might arrive at such a name. Modest Mouse? I even reMEMber thinking that was "raaaaaandom" in middle school. My point is that they're in good company and soon we'll get used to the poor choice of names... that is if they don't follow the debut album boom and bust trend of the myspace era.
So get on hypemachine, download their stuff, gather up some bros, choose a driver, and spend the night singing these guys' songs at the top of your lungs. And give me a call - I've had to pull an Alanis Morisette and imagine copies of myself in the car with me.
This may be the most random (but somehow maybe possibly great?) super-group of all time:
According to Billboard.com, there's a new band that exists on earth called Tinted Windows featuring former Smashing Pumpkin James Iha, Cheap Trick drummer Bun E. Carlos, handsome Hanson brother Taylor, and Fountains of Wayne bassist Adam Schlesinger.
[...]
Apparently, the band have already recorded their debut album in New York and are set to make their big time live splash at Billboard's SXSW showcase March 20 in Austin.
Maybe it's just that I'm exceedingly happy to see news involving an ex-Smashing Pumpkin that doesn't make me want to stab Billy Corgan in the face, but I see reason to be cautiously optimistic about this.
--James Iha -- despite looking like a stoned asian space alien -- was always cool. --Cheap Trick is Cheap Trick --Taylor Hanson is a cutie. And he did that cover of Radiohead's "Optimistic" once. --Fountains of Wayne -- I've been informed by multiple sources -- are not nearly as reprehensible as "Stacy's Mom" once had me believe.
PS: What is it about bizarre super-groups that causes them to choose the shittiest, most generic names names ever? I mean, Tinted Windows is bad... but what about Velvet Revolver? Or the time the dudes in a band called fucking Rage Against The Machine couldn't come up with anything better thanAudioslave?
Yes, it's been confirmed. The New Yorker's Sasha Frere-Jones has declared "Shine" to be the music video of the year. Not that we needed to hear it from the chumps at The New Yorker, as we've been on this story for months at Epic Mail. That said, it's always nice to hear some confirmation from the "real" media. Additionally, his comparison of "Shine" to early ABC is intriguing (anyone who lived in Braxton and remembers all those ABC-fueled dance parties should recall such masterworks as "Poison Arrow"), and not just in terms of guitars, as this photograph of frontman Martin Fry should attest:
To make my introduction to the esteemed, venerable Epic Mail properly "big," it seems only appropriate, while our experts toil away at cracking the Chris Dane Owens code, to pay respects to the Godfather of Bigness, the Maven of Maximalism: Mannie Fresh. Former Big Tymer (c), Fresh in 2004 trumped his temporal bigness to release a banger examining the very reality of big itself.
Consider:
Taken with the video (which for copyright purposes is unembeddable, but can be seen here: http://www.youtube.com/watch?v=vZ8Cpnjoggc), Fresh offers a framework for the signification of bigness. However, this is not an attempt to define bigness; for Fresh, bigness does not need smallness to offer contrast, it constructs its meaning by extension, not exclusion. What we see in the video are simulacra of bigness - oversized telephones, nearly impossible car modifications, exaggerated blue book values. Yet the axis of contrast is where this bigness intersects with the surrounding scene of urban poverty. Our first indication of Fresh's proportions of bigness come at the very second line of the song; the line "house real big" is met with an image strikingly different from our Cribs-influenced notion of rappers' residential grandeur.
I don't believe Fresh is making an ironic point that this house isn't big, for that would seem to contradict the very core of his maximalist philosophy. Merely that, compared to the barber shop we see later and the shotgun houses which Fresh sets as a backdrop for his street scenes, this house is, undeniably, big. It derives its bigness from dominating its own proportioned space, which is as close as I can come to a definition of Fresh's "bigness".
Consider also the example of the supposed "little person" Fresh's "king of the hood" persona takes as a sidekick.
All this, I offer as a statement applicable to our own endeavors into epicness. Perhaps there is some concrete definition of epicness, but the best (and most bloggable) way to approach it is through an induction of things that are, recognizably, "epic." It is a peculiar linguistic extension that the attribution of this quality precedes the definition of it. Yet it is not incorrect or misdirected. Chris Dane Owens: undeniably epic; Lil Wayne: the very character of epicness itself (who, not coincidentally, makes an appearance with Fresh in one of the most epic party scenes of the "Real Big" video).
Epic Mail, then, exists as a prolegomena to epicness. It points towards that which is epic, and by doing so stumbles upon manifestations of epicness in itself. Epic Mail is the legitimate "king of its hood," without need for defining the boundaries of this hood. As we move forward in pursuit of epicness, perhaps it is appropriate to look towards Mannie Fresh as a guide, a parallel framework to understand the construction of bigness and epicness. And most assuredly we should look towards an elaboration of this philosophy in Fresh's next album, the promisingly titled "From Big to Huge."
Get ready to cut your life into pieces: TRL is no more. I found this out last week and I was wholly unprepared for the news. Carson Daly, Vanessa Minillio, Damien Fahey, Suchin Pak, Sway... they're gone? Yes, my friends, the streets of Times Square will once again be empty of the smiling pre-pubescent faces of the thirteen year old girls who once lined the sidewalks every afternoon hoping to catch a glimpse of the drummer from the All-American Rejects and to get their scream heard through the glass of the studio window that loomed eight stories above them. If you're like me, and you undoubtedly are, you are beginning to ask yourself the terrible, haunting question: Where will I be able to watch 20 seconds of a music video interspersed with teen shout outs/freak outs?
In doing research for this post, I discovered that MTV is planning a new music-centered show called FNMTV, so you can rest easy knowing that there will always be a place, however small and insignificant, for music on MTV. The new show will feature some jack-ass called "Wentz" and will contain more feedback from viewers-who-aren't-like-you. Although, as Gideon Yago put it, MTV has largely stripped itself of the "music" and has spent the better part of our lifetime becoming a "youth lifestyle channel."
I can honestly say that I never voted for a single video on TRL. I cannot remember the last time I watched the show, a replay, or even saw a commercial for it. Carson Daly is always a great obscure reference but since I left middle school that's about the only interaction I've had with the show. However, in the same way that American Bandstand catalogued the music that was relevant for decades of kids across America, so too has TRL defined our generation. TRL was never about the music - it was about us. We voted for videos that we wanted to see. We interrupted videos by popping up in a little pip screen at the bottom of the video screaming "TRL!!!!" Stars came on the show to see us. The illusion that MTV presented to us was that we were in control of the youth culture. Even when we knew that we were being marketed to with manufactured boy bands like 98 degrees or "teen angst" music like Limp Bizkit, TRL allowed us to feel like we were responsible for the rise and fall of artists in the pop music industry. Now we've got YouTube. We don't need Carson Daly to tell us what the top song of the week is... we know that it's "Shine On Me" by Chris Dane Owens.
The real message I want to convey is that I'm actually mourning the loss of TRL. I feel like I'm longing for a childhood culture for which I was always on the sidelines. Why couldn't I enjoy seeing Limp Bizkit's cover of "Faith" in the top spot on a Tuesday afternoon? What was so wrong with "Freak on a Leash?" The whole bullet thing was actually kind of sweet! I'm sure that there are plenty of people for whom 80s nostalgia is somewhat of an assumed ex post facto identity and I guess that's partially what I'm doing now. But I'm also mourning the loss of a cultural anchor. Can I really hate this new FNMTV and decry its perpetuation of soul-less mass-marketed music? I guess, but I feel no real antipathy towards it. I'll probably just ignore it. The passing of TRL is mirroring the passage of my youth and I cringe at the thought of turning into a bitter James Murphy-like figure who cannot help but lament the usurpation of his cool by "the kids." From now on I'm out of touch with the real youth of America. The cultural vernacular that we knew - the acronyms and band names that were relevant to us, whether we liked them or not - are losing currency and new memes are being forged in the fires of adolescence to we which we will never be privy. Should it be any surprise to us that we're our own worst enemy?
So go out and buy BuzzCutsand look back with fondness on the days when Papa Roach used to blow our minds. Farewell, TRL. We'll miss you.
Backstory: I love Lil Wayne. If you've been in a vehicle with me this year, I've probably played a Weezy song for you, and you've probably had to induldge me as I raved about "how fucking BRILLIANT this one pun is!!!" All told, I have over 300 Lil Wayne songs on my iTunes. Not only do I think he's the weirdest, funniest, most creative and most troll-like rapper ever, I also think he's the most prolific stoner alive (two summers ago he was averaging about 3 or 4 songs a day, while being, in his words, "so high I could eat a fucking star"). And while I don't think Tha Carter III is his best work (Da Drought 3 from the aforementioned summer of 07 gets that credit), TC3 will still probably top my year end list, just as an honorary thing, like finally giving Scorsese an Oscar when he made the The Departed.
In the last couple years I've grown accustomed to reading similar praise for Lil Wayne, be it from The New Yorker, the Times, Slate or Pitchfork. The general message of these articles is that as long as you're self-aware and somewhat ironically detached, you can be a white nerd liberal elitist and still have love for Weezy Wee.
Unfortunately, 2008 has just been too good to Lil Wayne. He has the top selling album of the year, he's up for 8 grammys (more than Coldplay?!), he's been name-checked by the president-elect, and his auto-tuned-out (damn you T-Pain!) growl/croon has been featured in pretty much every "club ready" rap track released in the last six months.
So what does this mean? Well, if we look at the precedent set by the previous "best rapper alive", it means Lil Wayne is on a Collision Course with mainstream white America. And that can't be good for anyone involved.
What I present below are three "covers" of Lil Wayne songs, done by sub-par to terrible members of the 'alt-rock' genre. We'll start with the worst:
Jonathan Davis -- "Got Money"
Yes, that Jonathan Davis. This song brings up two questions:
1. Jonathan Davis is still alive? 2. Do you think he has a backwards 'R' on his keyboard?
I would direct you to his website where the song can be downloaded for free, but that requires that you sign up to receive emails from, well, Jonathan Davis:
Framing Hanley (??) -- "Lollipop"
This song may actually be worse than the previous one, but I had to give them extra points for the video. The music doesn't start until about 2:15, and before that you get to witness an emocore version of Can't Hardly Wait, where the super-tatted dude gets his pool mack on with the Vanessa Hudgens lookalike. Their conversation is like a bizarro-world reinterpreation of the dialogue from "the Sweater Song". Actual excerpts:
Hawt girl: I come here sometimes... to hang out with some friends... it can get pretty monotonous around here. Lead singer: Monotonous? Hawt girl: Yeah, you know... boring? Lead singer: Yeah I know what you mean... it just seems that you'd kind of be entertaining... from time to time at least. So... you bored right now? Hawt girl: No. Lead singer: No? Hawt girl: Maybe a little... (cue guitar playing "Lollipop"... wait, wtf?)
In case you couldn't stomach the entire thing, I can assure you that watching a Good Charlotte wannabe scream "CALL ME SO I CAN GET IT JUICY FOR YOU" is just as cringe-inducing as it sounds. Travis Barker and DJ AM -- "Stay Fly/Lollipop/A Millie (Rock Remix)"
We all remember September 19, 2008 as the day the music (almost) died. Well let's be glad those boys are still around, because they've made the only listenable cover on this list. Mainly this just stems from the fact that it's not actually a cover, and instead just Travis Barker being really fucking good at drumming. Also, this song begs the question, what does DJ AM actually do?
(ps, I just now realized that Epic Mail is about to have two Travis Barker rap covers posted in as many days. That can't be good.)
Now all this rock-rap business would be bad enough, but unfortunately, Lil Wayne seems to have decided that he needs to return the favor. He's taken to playing guitar in between songs at his concerts recently, and although I'm not the best at assessing guitar-playing abilities, I can tell you definitively that Lil Wayne cannot play the guitar for shit. This is about as uncomfortable to watch as a Middle School talent show:
In conclusion, I have but one thing to say:
If it's Weezy and Weezer we're talking about, maybe segregation isn't such a bad thing.
On this blog we like to ask the question, "Is this sweet?" but for this particular post I'm going to bypass this question and simply tell you, "Yes, this IS sweet."
This band and this song probably get tons of airplay on the Disney Channel and TRL but I don't really care. I first saw this video a few days ago on mtvU. Had I just heard the song, I might not have given it a second listen; the visual experience really sold it. Male and female alike cannot deny that these girls are almost TOO good-looking to all be in the same band. Unlike other bands composed almost exclusively of girls (i.e. I'm thinking the Pippettes or Sleater Kinney - got 'em, Steph) it's impossible to say with any real authority which one is "the hot one." The one question I have is "Who is that drummer guy and why does he get to be in the band?"
Now, a relevant question you might ask is "Is this blog post sweet?" and you might be right in saying "No way." However, I don't really care. This blog is slowly dying and losing relevancy to us and our audience. If this post serves as a catalyst for more posts, even if their sole purpose is to mock this post, then I lay myself down on the Epic altar.
"So all of the businessers in their unlimited hell where they buy and they sell and they sell all their trash to each other but they're sick of it all and they're bankrupt on selling"
So first I have to thank Ira Glass and This American Life for the inspiration for this post. On their most recent episode entitled "Another Frightening Show About the Economy," Ira played the Modest Mouse song "Bankrupt on Selling" in between chapters. Not only had I forgotten how sweet that song was but it also got me thinking about other songs I could be listening to during this financial debacle. Music to soothe me, music to capture the "spirit in the night," music to fuel puns and jokes in order to laugh nervously about the depths to which our country is now sinking.
The following is my personal soundtrack to this crisis. I tried my best to give the songs a logical order, one that reflects the chronology of the past few weeks. If Andy and I were still doing the Massive Saxophone on WCWM, this is essentially the playlist I would be bringing to the show. I'll provide notes and lyrics to the songs I think need further explanation but hopefully the others will be self-evident. I think this also will act as a bridge to the political and musical ends of our epic blog. Enjoy!
Act One: In Youth We Learn, In Age We Understand... 1. The Beach Boys - Let Him Run Wild 2. Steeley Dan - Reelin' in the Years 3. Rammstein - Amerika "We're all living in America! America is Wunderbar!" 4. Radiohead - House of Cards "Infrastructure will collapse... fall off the table, get swept under... denial"
Act Two: Oh Shit... 5. Modest Mouse - Bankrupt on Selling 6. Yo La Tengo - The Lie and How We Told It "And even as we near it, I can hear it, files in the air... we don't dare" 7. The Blood Brothers - USA Nails Turn the sound off your TV and watch the floor of Wall St with this song blasting. 8. Bruce Springsteen - Tenth Avenue Freeze-Out Ok, this song is just sweet. And there's a credit freeze. 9. Bob Dylan - Talkin' World War III Blues 10. A Tribe Called Quest - I Left My Wallet in El Segundo 11. Thieves Like Us - Drugs in My Body New Order's "Thieves Like Us" just isn't sweet enough.
Act Three: C'mon, Guys! 12. The Beatles - You Never Give Me Your Money 13. The Zombies - Maybe After He's Gone "Maybe after he's gone, she'll come back and want me again" He=McCain. Gone=suspending the campaign. She=the economy. 14. The Wedding Present - Everyone Thinks He Looks Daft Great plan, John. 15. Talking Heads - Thank You For Sending Me An Angel 16. Wilderness - End of Freedom
Act Four: Exile on "Main Street" 17. Uncle Tupelo - We've Been Had What about Main Street? Fuck pork barrell spending! 18. The Carter Family - No Depression "I'm going where there's no depression... my home's in heaven, that's where I'll be." 19. The Hold Steady - Stay Positive 20. Simon and Garfunkel - America 21. Tokyo Police Club - Citizens of Tomorrow 22. Daniel Johnston - Devil Town
I was living in a devil town. I didn't know it was a devil town. Oh Lord, it really brings me down about the devil town.
Thanks again to This American Life! and God Bless Credit Default Swaps!
You may not know him, but Hal Blaine is a definitive solid dude.
I had the fortune of learning about Hal Blaine when I had a revelation in class. It was in Composition III that I was assigned (yet again) to write and record a Tango song. For those who may not be entirely familiar with Tangos, it is a form of dance music that originated in Argentina in the 19th century and is loosely based on African drumming, presumably acquired from the large populations of African slaves that inhabitied the country at the time. It is based entirely on a distinct rhythm, which is either in 2/4 or 4/4 and contains accents on the 2, 3, and 4th beats.
An example of a traditional Argentinian Tango (pay attention to the drums):
Now, I asked to myself (as all Epic Mailers do) regarding my idea of Tango music at the time, "Is this sweet?"
The answer was a resounding, "not really."
However, the beauty of Tango music, and all music in general is that it can transcend practice and genre and can be mutated and borrowed into any form of aural expression.
Further investigation showed that Tango isn't even really a distinct type of music, as it has been interpreted all over the world, but is really only defined by that particular rhythm.
So, now regarding Hal Blaine and my revelation:
As time goes on, I am more and more taken with the classic popular rock and soul songwriting of the late 1950s into the 1960s. What draws me to this era is the appreciation and drive the artists had for majestic production. Even today, listeners marvel at the massive work and perfectionism put into this time; strings were everywhere, multiple guitars were strummed, background choirs cooed, etc. There was an epic (!) quality to it all. Everything had to be huge. Lyrics were direct, simple, and timeless. Every song was performed as if it were the single. Sure, there was a formula, but what a formula it was!
Of course, when anyone thinks of this time, among others, one of the big names that always comes to mind is the great, drug-addled, and violent, Phil Spector.
Spector (a solid dude in and of himself, but you know that) pioneered his "wall of sound" into songs that were often number 1s on the pop charts for the majority of the 60s. He influenced many artists including Brian Wilson (who arguably could not have conceived Pet Sounds without him) and the collective of Motown song-machines that inhabitied Hitsville, U.S.A.
It was during the production of one of Spector's earlier hits that not only sent a ripple through popular music, but was the cause of my revelation.
A young studio drummer, Hal Blaine, was in on the session for the Ronettes "Be My Baby" when he sat down and was ordered to come up with a drum intro and beat to the song. Whether intentional or not, Blaine began to play a slowed version of the Tango beat. It all came together. Thanks to Spector's production, this drum opening established a new big beat. Spector had a new trick up his sleeve.
With this Blaine/Spector combo, the duo went ahead and defined this sound with other groups, including The Righteous Brothers. "You've Lost That Lovin' Feeling," is one of the most gigantic songs of popular music, a staple of radio since it's inception. Any aging baby-boomer female will tell you that this stuff was crack for them in the day. With the Blane/Spector hookup, several groups of deep voiced crooning dudes defined a new style of dreamy, shimmering rock music, based on stately harmonies, sadness, and sharp clothing. Those reverbed drums shook the foundations and took pop music into to the next level, arguably paving the way for the psychedelic walls of sound that would follow several years later.
Let's not forget The Walker Brothers, the wayyy sweeter modish British crooners who owned the British pop charts in the mid-60s and were rumored to be more knee-deep in horny, long-haired, trimmed-bang femme fatales than the Rolling Stones. You know you want those jackets.
Along with Spector, Blaine helped establish what he called "The Wrecking Crew." They were a group of studio musicians that basically went pop crazy, playing on so many important American records in the 60s.
Blaine bashed skins on the following recordings, just a small part of his discography (I shit you not):
Elvis Presley- "Return To Sender"
Roy Orbison- "Oh, Pretty Woman"
The Association- "Windy"
The Byrds- "Mr. Tambourine Man"
Barry McGuire- "Eve of Destruction"
Frank Sinatra- "Strangers In The Night"
Simon and Garfunkel- "Mrs. Robinson"
Beach Boys- "Good Vibrations"
Nancy Sinatra- "These Boots Are Made For Walkin"
The Mamas and The Papas- "Monday Monday"
You get the idea.
The Wrecking Crew's big beats and dreamy production later went on to influence many later artists. We all know this:
Also, Bat For Lashes made this, a totally sweet vid.
Anyway, Blaine basically rocked the fuck out, and in the process paved the way for music that takes it to the next level, from cheesy balladry to drugged out shoegaze and creeper pop. Solid bro.
I sort of stumbled across this really interesting article about hipster culture which is the cover of Adbusters magazine this month (a publication with hipster connotations itself, sort of perpetuating the duality of all of this). Judging from what I'm seeing online, more and more people are begining to notice this problem; a life of contradictions if there ever was one.
I really strongly urge all of you guys to read it, because it definately hits home and also raises some good points. I know none of us identify ourselves as hipsters, but I know all of us have denied accusations of hipsterdom at some point.
It makes me wonder. The author seems to think that today's hipsters are different from those of the past because there is no movement or message behind the identity, however fake it may be. Is this the case? What does it mean, if our generation is the first group who actively take part in assuming an identity that they also wish to deny? How is the state of the world shaping this identity? Most importantly, if Adbusters is right, what do you think will happen?
Those "Empire Strikes Back" costumes. The spelling. The pointing.
If you had to choose, which one would you be? The douchy vocalist? The drummer who holds shit down but is a total bro? Synth dude? I need to find meaning.
Okay Dave. You wanna talk leaves and leaving? Lets do this shit:
1. Wilco- Sunken Treasure: I could probably listen to only this song from October through late November and be completely fine with it. I mean shit, look at the lyrics: All the leaves will burn In autumn fires and then return For all the fires we burn All will return Doesn't get anymore leaves and leaving than that.
2. Wolf Parade- Dinner Bells: I distinctly recall buying this album and driving around downtown with fall in full blast.
This song came on and I knew what leaves and leaving meant before it was even a colloquialism. That is all I feel like writing for now. To be continued?
Inspired by this article in the Onion's AV Club, and in response to the "current events"/DIGG content of the preceding posts, I've decided to assemble my own Autumnal Top-5:
1. "Maple Leaves" - Jens Lekman This song has everything you want in an autumn song. From the soaring strings to the burning nostalgia... hell, even the TITLE screams "LISTEN WITH A SWEATER!" No other song makes you want to call up your ex-girlfriend and ask her to go jumping in a pile of newly fallen leaves... or better yet, makes you WISH you could call her but you know you can't because it just hurts too damn much.
2. "The Poacher" - Ronnie Lane and the Slim Chance Woah strings! This song has the benefit of being a perfect Fall song while at the same time bringing in the Palin voters. Unlike Jens, Ronnie Lane opts for a song that SOUNDS like the nostalgia-filled autumnal bliss you desire while simultaneously being full of hunting references. I don't know who the Poacher is but he sure makes the leaves fall.
3. "To Go Home" - M. Ward Talk all you want about how Daniel Johnston isn't outsider art but this version rocks way harder and shakes the trees full of dead leaves ten times as vigorously. Nostalgia, group vocals, pound acoustic guitars and pianos... and those sweet dulcet tones courtesy of M. Ward.
4. "Pink Frost" - The Chills A song about killing your wife might not seem to embody the leaves n' leaving ethos, but a closer look reveals the contrary. In fact, it's merely a dream the narrator is having! In this context we see the narrator as having doubts about his relationship and pining for a more perfect self and partner that is just out of reach - thus, the leaves AND the leaving. The opening guitars make this song so sublime. It starts off rocking and poppy and then... then it kills you with a duel guitar/bass harmony. Nothing better.
5. "Thoughts Are Leaves" - Bob Marlow's Weekender Music A personal friend who should be way more famous than he is. The name of the song says it all. Every time a tambourine rings, a leafe falls. Stop making chemicals, Bob, and make more autumn tracks!!!
That's enough for now. Get back to politicizing, bros.
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