Friday, June 30, 2023

Inside Out, Melissa


Did Enya have a baby with a Christian album? Thats this album. 

I don't hate much... Tom Brady, Taylor Swift, and maybe this album. It's corny and stupid and wispy. 

These harmonies echoing into my soul drive me nuts. We just left a wedding and I'm not drunk enough. This feels like a waste of Emmy Rossum's voice. Who found this sound for her? She could've done anything else. 

Thank God for Shameless

Inside Out, Sean E.


Emmy Rossum's Inside Out can best be described as a mashup of Imogen Heap, Lana Del Ray, and Broadway musicals that simply doesn't work. However, I cannot decide why it doesn't work. Emmy has a great singing voice. Imogen Heap, Lana Del Ray, and Broadway musicals are all great on their own. Imogen Heap's and Lana Del Ray's music are similar, so maybe it's the Broadway musical aspect? Or perhaps the lyrics? I can't tell if they are cringey/corny/bad. It would be great if a host of artists I like remade this album so I can tell.

It seems Emmy has been in some musicals, which I suspect she is good in, considering she's a great actor with a good singing voice. I will have to give them a watch.

Inside Out, Sunny


oh wow, it's friday already? i listened to this on monday, turned it off, went on vacation, and forgot about the whole thing. compared to the last few weeks of country, where I was exposed to ranges from genre i don't get, here's a genre i do get and have now seen the dark side of. i tried the title track again and feel bad again. at least rebecca black was a youth nobody who couldn't have known better. there, thats the review.

Inside Out, Walter


Wild! I didn't know Emmy was trained as an opera singer, and I'd give her 5 out of 5 pukes in comparison to her role on Shameless

I never actually know if 5 pukes is the best or worst, so I'll just say I loved this work for the to vocals. I felt like I was at a play, and part of that was being able to hear Emmy take in those deep breaths in between lines to hit all the ranges she needed to.

Inside Out, Nate


Felt like a shitheel listening to this album, like it was an embarrassing experiment that was leaked and not some major label effort with a marketing push behind it. Rossum found her calling as an actress, and it's nice that she likes to sing, but let's not revisit this, and let's allow everyone to move on. Yikes and woof and yikes again.

Inside Out, Pam


One thing that wasn't listed on the write up for this week (at least when I read it), is that Emmy Rossum played the lead, Christine, in the movie version of the Phantom of the Opera in 2004. And so, it's evident that she absolutely has a classically great voice. But in terms of this album, once you've heard one song, you've heard them all. They're all breathy and they have this, like, rounded quality to them, as if they were meant for putting a baby to sleep, or carrying an egg on a spoon across a yard without it dropping. There are no edges.

There are bits that sound like they could be verging on that cool Imogen Heap / Frou Frou sound, but they never quite get there. The "Rainy Days and Mondays" cover is like the opposite of Karen Carpenter's voice, which is almost devoid of that breathy quality. But no one ever said covers have to sound just like the original, so that's really just an observation. In all of its 48 minutes, even if the critics ripped it apart, the only feeling I get is that this album is exactly what Emmy Rossum and Stuart Brawley set out to do.

Inside Out, Pat


I am currently a stay-at-home dad. While this is totally a real job (respond to my emails, Department of Labor!), it's not one that requires a lot of effective expression. So I'm constantly looking for activities to keep my brain busy. Writing has been one such activity. When I saw the RC pick for this week, I figured I could listen to Inside Out while I did my daily routine and then write a quick review. It did not exactly go down like that. In true Summer Song Challenge style, I wrote a blurb for each song. Come with me on this journey.

"Slow Me Down"

I'm listening to this album on YouTube, and right off the bat we have a music video. I don't know what I was expecting, but it wasn't this. Wikipedia classifies this album as New Age / Dream Pop. When I hear this song, I imagine a room full of record executives sitting in front of a whiteboard. All that's written is "Enya, but sexy?" They were wrong to follow their instinct. This breathy, echoing opener does not bode well.

All that said, this video is deeply funny. What is she running from?

"Inside Out"

Have these songs been slowed down in post? I can't tell if Rossum is singing in a purposely over-enunciated way because of her theater background, or if this was just bad mixing. A song isn't automatically bad because it's slow, but "Inside Out" is made worse because the lyrics suck. "This suicide feels so alive" is so glib. I hope this song had a ghostwriter and English isn't their first language. Otherwise I'm gonna be mad. 

"Stay"

Emmy Rossum is a really good singer. Like Joe said, she started in the opera when she was seven. She was the female lead in Joel Schumacher's Phantom of the Opera when she was eighteen (note to self: watch that movie, it sounds nuts). But this reverb is killing me. I'm also hating these lyrics. They remind me of Twilight. They're so lazy and saccharine, I could totally see Bella writing these songs for Edward. Oh God, is this a Twilight concept album? This is some off-brand Christina Perry shit.

"Falling"

I guess I was expecting Inside Out to be more of a pop experience. Of the four tracks thus far, "Falling" is probably the closest to a traditional pop song. This is somehow a turn for the worse. Four minutes cannot pass quickly enough.

"Great Divide"

Whoa, a song with no echo effect? I was right, she has a fine voice. But the song is still not good. It's too slow. When Rossum asks "Are you listening?" sounds like it's directed at the audience. This would be acceptable background music at a day spa, but not for listening on its own.

Shit! My nine-month-old just took a step while holding onto a table. I will now always associate this song with that milestone. Thanks a lot, Record Club.

"Lullaby"

I get Pentatonix vibes from this song. This is not a positive assessment, but I can see why Rossum followed up with a Christmas album.

"Don't Stop Now"

Just let the woman sing, for God's sake! If I heard the first 50 seconds without knowing it was Emmy Rossum, I'd probably think it was a lesser known Evanescence song. Then you'd tell me it was Emmy Rossum and I'd go "Oh, interesting." Then I'd go to a movie theater to see I Am Legend and Walk Hard back-to-back because that's something I did in 2007. The first 50 seconds are perfectly fine, nü-metal record scratches and all. Would not be out of place coming over the speakers in a Hot Topic. But no, they fucked it up with that goddamn echo effect.

"High"

Just for fun, I adjusted the playback speed to 1.25x. It sounds much better! I made a totally inoffensive pop song! I still hate the echo effect but at least now the song has some life to it. I should be a music producer.

"A Million Pieces"

I have no thoughts about this song. Moving on...

Wait, no, I have one thought. Do you remember that guy who wrote A Million Little Pieces and how he got reamed out by Oprah on national television when she found out he made up most of the book? That was hilarious.

"Rainy Days and Mondays"

This is my favorite song so far. The stakes are so low. No one is referencing suicide. Plus, the song is ten times better if you picture Garfield singing it about Jon Arbuckle. (It has been brought to my attention that this is a cover of a Carpenters song. I stand by all my previous comments, especially the one about Garfield.)

"Anymore"

Ok, what the fuck? I actually like this one. They took all my notes. There's no echo effect for the first two-thirds (can't win them all). The lyrics have a clarity of purpose that I haven't heard yet. The violin suggests this song wasn't made entirely in GarageBand. I stopped cleaning my living room to listen to it.

I think the best thing about "Anymore" is it's the first song on the whole album that actually sounds sincere. Sincerity goes a long way. According to Wikipedia, Rossum had only met her father twice when this album was recorded in 2007. When she sings about the pain of growing up without him, I believe her.

My working theory is that Emmy Rossum wrote "Anymore" first, then worked backwards to fill out a whole album. Unfortunately, that filler is just filler. It's not even that remarkable in its badness. I think most of the songs are annoying and most of the lyrics are pretty lazy, but I'm not going to remember this album for more than a few days. It's just... nothing. Man, what a waste of talent.

Rating: 😾
1 out of 5 possible Garfields

Inside Out, Joe


Usually when someone says "this is not for me," they are being kind, and saying that even though they personally don't necessarily like it, that doesn't rule out the fact that other people might like it in their own subjective way. Usually, when someone says "I don't get it," they are admitting defeat, and acknowledging that the world is large and that they can't possibly know everything about music, and so why even bother this week, i.e. just another week of Record Club in an endless string of Record Club weeks. Usually, when someone says "this music is bad," they are speaking into a mirror, even if they don't see it, a subconscious dig at the listener him/her/themself, music only being bad if the ears that hear them are bad. Usually.

But my first three reactions to hearing Emmy Rossum's 2007 Inside Out were, in order: "this is not for me," "I don't get it," and "this music is bad."

My fourth reaction was to wonder how hard I should go in my negative review. I don't think it's deserving of evisceration. It's bad and I don't get it and it's not for me, but also, I almost respect it for how insanely left-of-center the whole endeavor is. This is ballsy. Every fucking aspiring actress can go out there and make some cheap flimsy pop album with an army of hired hands if they want to. A young Emmy Rossum, freshly 21 years old, went into the studio and made a fucking new age album. Who does that?!

I don't even know that I'd call this "music." By its literal definition, maybe. But Inside Out is more like... an experience. It's the default playlist in the sensory deprivation tank. You can't listen to it so much as you can let it wash over you, ghostly and whispery sounds rising and sinking at random, Rossum's voice singing like it's trying to contact you through a time portal or haunted mirror or something. I'm not saying any of this is a good thing, or even a bad thing, these are just facts. I've never purposefully listened to music like this before. I've heard it, sure, like maybe right before I'm about to get a massage. But, like my previous massage experiences, Inside Out provides no happy ending.

The songs that include instrumentation beyond Emmy Rossum's voice work better, I think, though just barely. Something like "Falling" at least has a drum machine to keep things grounded a little bit. Songs like "The Great Divide" less so, with it's ghostly extended organ note and not much else besides the voice. Then there's "Slow Me Down," in which Rossum channels her inner Bobby McFerrin and goes full a cappella, which is just freaky, honestly. Non-vocal instruments or not, nothing can stop the whole thing from feeling like there is a whole chorus of Emmy Rossums surrounding me. Is this what dying feels like? Will some actress from a dumb show I refuse to watch multiply and serenade me as I float into heaven?

You can note that the three song examples I used in the preceding paragraph are from the first half of the album. That's both my fault and not. I've listened to Inside Out more times this week than possibly any human on earth save for Emmy Rossum's mother, and I can tell you that every single time I start, I think, "Wow, okay, maybe it's starting to sound interesting at this point," but then I get to like track 6 ("Lullaby"), and I start to zone out. Inside Out is interesting as an idea, I think—new age dream pop for the next generation!—but the idea cannot sustain itself for an entire album. It's funny for like two minutes, and then it curdles into something repellent, and eventually flattens out and becomes boring. I don't think it's a coincidence that Rossum's only other album, Sentimental Journey, is a collection of cover songs from the 1940s. Dreamy new age sounds is not a winning idea.

Still, it's inoffensive, so at least there's that. There have been albums in Record Club that are bad but also have ulterior motives, and Inside Out isn't that. It's just a young triple threat stretching out her singing chops right before she hits it big on a prestige paid-cable comedy. Fine. I bear no ill will. I just don't get it. And it's not for me. And I think the music is bad.

GRADE: 1 puke out of 5

P.S. when Sean says that he was "googling random things" when he stumbled upon Emmy Rossum's music, I think we can all safely assume what those "random" things were.

Summer Song Challenge, Day 33: Bob

Prompt: "A song about drugs"

Selected by Bob


"The Kids Aren't Alright"
The Offspring
Americana, 1998

This song hits hard for so many different reasons. Mainly, I've seen the impact of hardcore drug use from close friends growing up. I've had many friends move to Florida, Levittown, and some kids I knew even overdosed and died. One day I saw my best friend at the time, John, do a line of coke in Wendy's bathroom, then he threw a brick at his mom that night and got arrested. The song is so true. We grow up thinking we are all going to be successful, famous, well off, but the sad reality is most of the kids I grew up with are not alright.

Summer Song Challenge, Day 33: Fisher

Prompt: "A song about drugs"

Selected by Fisher


"Royal Oil"
The Mighty Mighty Bosstones
Let's Face It, 1997

I didn't have to google this one! The Bosstones are possibly my first "favorite band." Something drew a ten-year-old me to them something fierce. Very kinetic. I greatly appreciate music as a source of hyping up. It always looks like these dudes are having a blast. And I wanted to join the party.

Anyways, don't do drugs. Anyways, don't do bad drugs. This is a song about the bad drugs. Non-bad drugs are cool and you should do those. Listen to me.

Summer Song Challenge, Day 33: Sam

Prompt: "A song about drugs"

Selected by Sam


"Me and Julio Down by the Schoolyard"
Paul Simon
Paul Simon, 1972

My mom has always speculated that the narrator in this song was up to no good with Julio. I'd like to think they were blazing up a cartoonish doobie with the Queen of Corona. Also I got into the requisite fight with my mom on vacation today, so here's to you.

Summer Song Challenge, Day 33: Dave

Prompt: "A song about drugs"

Selected by Dave


"Drugs Are Good"
NOFX
HOFX EP, 1995

This is simply a song about how doing drugs and being a punk are a good time. The song has hints of sarcasm, like a lot of NOFX's material, but it's worth noting that they were known as the most drugged-up band on the Warped Tour. Apparently, if you wanted cocaine after you left the stage, NOFX's bus was the place to be.

Summer Song Challenge, Day 33: Walter

Prompt: "A song about drugs"

Selected by Walter


"Who Says"
John Mayer
Battle Studies, 2009

"Who says I can't get stoned / Turn off the lights and the telephone / Me in my house alone"
^^ About drugs allowing one to escape from all the obligations in life

"Who says I can't get stoned / Who says I can't be free / From all of the things that I used to be / Rewrite my history / Who says I can't be free"
^^ About drugs' ability to create a paradoxical feeling of being free while high

"It's been a long night in New York City / It's been a long night in Baton Rouge / I don't remember you looking any better / But then again, I don't remember you"
^^ About drugs being used as a way to self-medicate from feeling overwhelmed, and (or) getting caught up in a super-ego and forgetting who you really are

"Who says I can't get stoned / Call up a girl that I used to know / Fake love for an hour or so"
^^ About drugs falsely easing oneself to feel love and connection

"Who says I can't get stoned / Who says I can't take time / Meet all the girls in the county line / Wait on fate to send a sign / Who says I can't take time"
^^ About drugs being a symptom of another problem, like feeling loneliness

"It's been a long night in New York City / It's been a long night in Austin too / I don't remember you looking any better / But then again I don't remember you"
^^ About drugs being used every night and burning oneself out

"Who says I can't get stoned / Plan a trip to Japan alone / It doesn't matter if I even go / Who says I can't get stoned"
^^ About drugs as an enabler to one's loss of self esteem

"It's been a long night in New York City / It's been a long time since 22 / I don't remember you looking any better / But then again I don't remember / Don't remember you"
^^ About drugs ability to feel like life is just on repeat, year after year, and feeling ungrateful

Summer Song Challenge, Day 33: Nate

Prompt: "A song about drugs"

Selected by Nate


"\/\/eed Is Tight"
JANK
Awkward Pop Songs, 2015



He smiled. "No, I suppose that it does not." He sighed again. "I have in my possession a suite of chemicals. If I had to make good on my promise, I would have started by killing you, either choking you to death or subduing you long enough to inject you with a poison that would end your life within minutes." He paused as I considered this information. "From there, I suppose I would have killed the driver, threatened the lives of everyone on the bus should they try to interrupt me, then driven the bus to an area where it could be abandoned, then killed these people one by one."

He looked at me, again starting into my face, as if waiting for something. "I don't think that's such a great plan, honestly," I said. "I sort of expected something more elegant or, I don’t know, more brutal?"

He chuckled, pressed the stun gun into my side again. "Well," he said, "The truth is, in work like mine, I am given a great deal of creative freedom to meet my goals. And sometimes the path is a straight line, and sometimes it requires innovation and creativity. I leave myself open to creativity."

I considered this and we rode in silence for a few minutes before speaking up again. "Do you recognize me?"

I turned to him. "I assume you work for the person I spoke to on the phone."

"Yes, but do you recognize me?"

I looked hard at him; his thin face, his smaller frame, his nose that was both jagged and swollen. He was distinct. "I don't."

“Ah, that’s disappointing. I recognize you”

I paused, looked at him again. "Can I ask, how long were you on me?"

"I suspected you might ask this question," he said. "Please do not be offended or disappointed, but I have been following you since you left Colleen's apartment. I noticed your caution, your attempts to shake pursuit. Take solace in the following: some of your moves were difficult to track, and your paranoia was justified."

I sat with that for a moment. "I'll admit, I feel a little silly about that knowing how fucking useless it's turned out to be."

"You shouldn't," he said. "It was smart. It is what I would have done were I in your shoes. May I ask you another question?"

"Sure," I said. I had decided that my only way forward was to keep him talking. Part of me was resigned—maybe relieved?—that it might all be over soon, but most of me was still thinking of anything I could do to survive this. In these tight quarters where leverage and speed mattered more than size, I was at a disadvantage. If I could keep him talking, somehow get us off the bus, somehow overpower him in the open, I could still have a chance of walking out of this with my life. But what life was it, really? Who did I have besides a missing woman I was certain in my bones was dead? What was there for me, off the hydraulic doors of this shitty Peter Pan sled?

"As I said, I was given a job, and you were it," he said. "I was given some details about you, one of which was that you had a dead face. Is this true?"

"Take the stun gun off of me and I'll tell you," I said.

I felt the pressure subside from my hip. I resisted the urge to start rubbing there, and let the dull wave of pain flow through my side.

"I don't know if it's a dead face," I said. "I can smile, I can speak, I can frown. It's just that it isn't expressive like other people’s faces are. You other people, if you, say, jam a stun gun into their side, they will make a face as part of their expression of discomfort. Those messages never get to my face from my brain."

The man considered this. "This has served you well, yes?"

"Certainly goes a long way toward doing my work for me," I said. "Being as big as I am, looking as unreadable as I apparently do, it allows people to draw their own conclusions. And if you let people do that, I've found they'll often psych themselves out before I have to life a finger."

Summer Song Challenge, Day 33: Pat

Prompt: "A song about drugs"

Selected by Pat


"Semi-Charmed Life"
Third Eye Blind
Third Eye Blind, 1997

Allow me to get sociological for a moment. You would never understand why people use meth if your only frame of reference is Breaking Bad. The ugly truth is that people need it long before they're addicted. A lot of people pick it up (despite the well-known drawbacks) because meth is dirt cheap, gives the user a ton on energy, and allows them to work longer, harder hours. Meth fuels a capitalist society. It's the next logical step after caffeine fails. This is obvious if you think about it even for a moment. Here's an example: why is meth stereotypically associated with bikers and truckers? Because they can drive longer when they're on it. It's not a conspiracy theory. This connection between meth and productivity has been apparent for decades.

Who knows how much horror could be avoided with a living wage? Any serious campaign to fight drug abuse in America needs to acknowledge that economic injustice is a primary cause. But that's hard, so I imagine it will be easier just to make sippy cups illegal.

Summer Song Challenge, Day 33: Joe

Prompt: "A song about drugs"

Selected by Joe


"DNA"
Danny Brown
XXX, 2011

When I was applying to be a temporary part of the work unit I ended up spending two years in (up until about a month ago, and fuck every higher-up who made the switch back to my current unit possible), I was asked by that unit's supervisor if I was going to be "comfortable" sharing intimate stories from my life in small group work. I laughed the question off without going so far as to say that this is basically what I do every day on my blog. But yeah, man, I'm comfortable with it. I've long been a proponent of being open and honest with your peers and loved ones about pretty much everything (unless that openness or honesty is going to cause undue harm on others). I see it as a cheap form of therapy, in that by speaking about yourself, you might learn something that you didn't know about yourself until you said it out loud (or wrote it publicly on a blog).

So I put together my Family Portrait, which has been mentioned on the blog a few times before (like this RC review), because I really got a lot out of that process. It was enlightening not only hearing other parents' stories, but also it was somewhat enlightening being forced to present my own story in that context. What the assignment asks for is that you examine your own family's history and look for patterns and cycles. The idea is that sometimes, the things we experienced with our own parents cycle around and show back up with our kids. Then, if the cycle is exposed, then we can use that new self-knowledge to break the cycle.

So I talked in my own family portrait about my drinking. This was before sobriety, so you can choose to view that discussion as partially disingenuous if you want to. But I was speaking my truth, and my truth at that time was that I had a history of drinking, and real, concrete issues stemming from that drinking, and that my kids were growing up in the same fucking neighborhood that facilitated so many of those initial stages of drinking for me, and so, like, how was I going to be an effective parent in that context, with the lessons I've learned in my life? And so on.

At one point during one of the sessions that I was doing my Family Portrait, a parent asked me: "Well, did your own parents have drinking issues?" And the question kind of caught me off guard. I'll be honest that I have rarely, if ever, thought about it. I lay a lot of shit at my parents' feet, but substance abuse is not one of them. Sure, I recall parties in my youth, and though I was too young to be cognizant of it, I'm sure a lot of those family parties involved heavy drinking. If there an alcoholic gene on the paternal side of my family—a gene that evidence suggests does exist—then I don't see much of it manifesting in any outward way among any of my extended family members. That could just be a mark of how close or not close I am with my cousins, I don't know. Maybe someone's not keeping their shit together and I'm not privy to it. But as far as my parents go, I've seen them drunk, but it wasn't a pattern, at least never a concerning or frequent one. And though drinking was definitely the norm in Northeast Philadelphia, and my parents were participants in that same ecosystem, just a generation removed, I have no reason to suspect that they were active participants, and I don't think that their drinking or lack thereof has anything to do with where I find myself now, at this current juncture in my life.

And I'm certainly not blaming them for any of this shit. C'mon. Get real. A big part of "recovery" (to use terms that are not my own) is the act of being concerned with your own side of the fence, and not casting blame on anyone else for the shit that you yourself got yourself into. There's a way to state facts without laying blame. The fact is that my parents drank a pretty reasonable amount of alcohol in my youth (and their youth too, when you think about it—my mom was only 24 when I was born), and that we resided in a community that didn't really do much to discourage such behavior. But to say that I am an alcoholic because of my parents would just be fucking irresponsible.

Danny Brown doesn't seem to have the same outlook on the blame game, at least not in "DNA." The hook: "It's in my DNA / 'Cause my pops like to get fucked up the same way." While that's technically true, like in a scientific way, that alcoholism can be carried in your DNA, the lyrics sound perilously close to Brown laying the blame on that DNA. Far be it from me to judge anyone, that's not what I'm doing here either. I'm just saying that there's a difference between acknowledging a tough circumstance in life and saying that your current predicament is the fault of those tough circumstances. And this song does a really great job of starting a discussion about that difference.

Another thing I appreciate about Danny Brown is how his lyrics are as open and honest as we would ask any parent to be in those parenting groups. This song could be a Family Portrait. The verses of "DNA" feature Brown rattling off a litany of drugs and sex and general wild behavior, and there is no judgment in his words either. He's not saying it's a good thing that if he "don't smoke an eighth a day, [he] might end up a mental patient," but he's not saying that it's a bad thing either. It's just a fact. He's laying his truth out there for all to see. I'd tell Danny Brown what I'd tell any parents in one of my groups—sounds like there is a lot going on, but the fact that you were able to talk about it so openly and honestly, that takes courage.

And let's not forget that, like any other musician or lyricist, we should, at a certain point, not take everything that Danny Brown literally. There is all kinds of hyperbole stuffed into his songs, and the cartoonish behavior is pretty clearly meant to be part of the joke, or at worst a masking of some deep-seeded self-negativity. That's not really my place to say either, I only bring it up to say that if you take every song as a work of non-fiction, then there's going to be a temptation to perform some armchair psychology, and I don't want to fall into that trap.

No, my point here is that there is definitely reason to believe that cycles exist, and that it's worth examining that facet of your life's history. At the same time, the existence of those cycles doesn't necessarily excuse anything. You're still your own person, making your own decisions. We can acknowledge the effect of the past on our present, but it's up to us to navigate our own future.

Summer Song Challenge, Day 33: Pam

Prompt: "A song about drugs"

Selected by Pam


"Chandelier"
Sia
Forms of Fear, 2014

Man, when this song came out, I was right up there swinging from the chandelier with Sia. One, two, three, one, two, three, drink. I listen to the lyrics now and I'm like... ummm this is straight up problematic behavior... that I engaged in many nights of the week... for many years (nurses really know how to blow off steam). This was also a huge song in 2014 when Joe and I got married. I have very clear memories of blasting this during my bachelorette party. Also a great music video.

Summer Song Challenge, Day 33: Stephan

Prompt: "A song about drugs"

Selected by Stephan


"I Got 5 on It"
Luniz ft. Michael Marshall
Operation Stackola, 1995

I initially wanted to choose "Purple Haze" by Jimi Hendrix, but after a bit of research, it wasn't clear whether the song was actually intended to be about drugs or just made synonymous with marijuana. I've heard the song may have been about love or aliens.

So, I pivoted and chose a song that is undoubtedly about that sweet sticky icky. "I Got 5 on It" by Luniz is a favorite of mine. Its hypnotic beat provides an aural high akin to the experience of THC on the brain. While the song is most obviously about smoking weed, it's most importantly about enjoying weed with friends. It really takes me back to the days when I, like the protagonist in the song, could barely afford to put $5 toward a dime bag of shitty, low-grade pot.

Summer Song Challenge, Day 33: Maeve

Prompt: "A song about drugs"

Selected by Maeve


"Chocolate"
The 1975
The 1975, 2013

Wow, Matty Healy was clever with this one, chocolate = weed. It tells the common tale of getting caught with weed by the police, "Now we run, run away from the boys in the blue / And my car smells like chocolate," and just your average weed occurrences, "Oh, my hair smells like chocolate." It's not poetry, it's simply subbing in one word for the other with a big ole wink. That being said, this song is catchy as hell, clap-happy, and is easy on the ears. Also, it's fun to hear a British singer actually have the accent.

My sister is a HUGE the 1975 fan, and has been for a while. I've heard this song and pretty much every song of theirs while driving around with her. I know other people have written about their problematic artists/song choices before, so you better believe this one follows suit. The lead singer Matty Healy is no stranger to controversy (and is just a shitty person!). Last summer he was bringing up fans on stage and making out with them. Recently, he's come under fire for his comments on Ice Spice, doing a Nazi salute on stage, etc. He's bad! He also had a brief stint of dating Taylor Swift, which timed perfectly to when I saw her in concert. Phoebe Bridgers opened the show and he played guitar with her band. Whenever the camera panned to him, fans freaked out. It was so bizarre, to the point where the camera avoided him completely, even when Phoebe introduced the band one-by-one. This fling appears to have lasted like two weeks though, so one could imagine PR stepped in. Fans were so upset about the pairing, especially because of his terrible actions, that they seemed to have caused the hookup to end. I mean, I bet she'll write a fun song about a British fuckboy who was "canceled" and he just got free tickets to six sold out Taylor shows. God bless.

Thursday, June 29, 2023

Thirsty Thursday: The Streak


Not that I'm necessarily part of any AA community, but it feels nice to follow along with their system of sobriety coins. I'm not literally going to a meeting and getting a 90-day sobriety chip, but it was cool to wake up on that day in my journey and think to myself, "Cool, I earned my 90-day chip today." It's interesting to note we start with a 24-hour chip, then it goes 30-day, 60-day, 90-day. After that, it switches to months: four-month, five-month, etc., up to a year. Anything after a year is marked by years, not months or days or hours. It's helpful to think about your sobriety like a newborn baby. You're only talking about days when they're real young. No one is saying that their baby is 987 days old, just like I'm not going to be talking about being sober for 987 days, if I'm lucky enough to reach that point.

Last week's 100-day milestone felt big to me, even though it wasn't an official chip. Something about triple digits reads to me as "big deal." Henceforth, I'm really only going to be thinking about "length of sobriety" on the 15th of each month, i.e. the whole-month values. Eventually, I'll shut up about it all of this and just live my life under a regime of the New Normal, but for now, the chips.

One more exception to that AA-coordinated chip system for me: 113 days. I'll reach that milestone next Wednesday, July 5th. On that day, I will have been sober for more days in a row than I have since I had my first drink. And the fact that this personal milestone falls on Day 113 implies that there was a previous 112-day attempt. That is correct. Let's talk about it.

I was sober from September 24, 2017 through January 13, 2018 (though maybe I should say that "I didn't drink" during that time period, since I was still pretty drunk on September 24th from the previous night). There's a lot to say about that four-month period of my life, but the most relevant to the proceedings in today's blog post is that this previous streak of sobriety looked and felt and functioned nothing like this current, hopefully longer streak that I have going right now. The comparison is natural, and I suppose to a certain extent I'm comparing them through the simple matter of keeping track of the days. But the comparison also makes me a little uncomfortable, because what I'm trying to do now is completely unrelated to whatever I was trying to do then. And I don't want to go back.

If we're talking about that first streak, then it's probably necessary to discuss the why. What motivated me to stop drinking, even temporarily? Here's the problem with that: it's not completely my story to tell. I mean, I was there. I was the catalyst in what happened. This isn't me passing blame or whatever. I was completely at fault. But also, I didn't technically bear witness to what happened either. That seems like a contradiction, but it's not when you take blackouts into consideration. On the night of September 23, 2017, I blacked out, badly, and fucked up, badly.

When I say it's not my story to tell, I mean that I wasn't the victim in the incident, and so it's my responsibility to hold back explanations and details, due to the risk that re-exposing those details to the victim would entail. Going into the nitty-gritty would rip old wounds that I've tried really hard to facilitate healing over the subsequent almost-six years. Perhaps even alluding to it here is doing damage, and if that's the case, I'm sorry. That's not my purpose here. I'm not trying to make things better or worse at this point, I'm just acknowledging the fact that there was an incident, and that I responded to that incident with temporary change. (A lot of people reading this already know what happened anyway, so it's unnecessary on at least two levels to rehash it again.)

So my thought process went like this: if I'm going to say that the impetus in this gigantic fuck up was the unreasonable amount of alcohol that I consumed, then the problem is the alcohol. It felt like at that point that I needed to prove—to the victim, to the witnesses, to myself—that I was more than my alcohol consumption. Moreover, that I could prove that I was a good person, that the incident was an anomaly, and that, through sobriety, I would be able to show who I really am.

Here, then, are two of the biggest difference between the sobriety of Then and the sobriety of Now. One, that my current sobriety was not a response to any sort of incident that could reasonably look like someone's rock bottom. Two, that I am not currently trying to "prove" to anyone anything about myself. I'm not doing this for anyone but me. I appreciate the approval and support of my loved ones, but this thing I have going doesn't hinge on it. It's different now because I think—I am so so sorry for the lack of humility in what I'm about to say but just bear with me because I'm trying to prove a point here—because I think that I was a good husband and a good father, regardless of whether I was drinking or not. I don't need sobriety to prove that because I already fucking proved it. Yes, sobriety helps me be present, and I am indeed finding tangible emotional benefits in the relationships I have with my immediate family members (wife, daughters), but that's not why I'm here. I'm here for reasons that have nothing to do with anyone else but myself.

So there's that. And it's an important distinction, because it really speaks to how unserious I was that first time around. Yes, ostensibly I was trying to "prove" something, but how long was that supposed to be before it was "proven"? Apparently 112 days? Why such an arbitrary number? And as Dave noted in our conversation at the beginning of this week, it wasn't like I had the right mindset during those 112 days anyway. Dave has memories of me telling him that I was "miserable" while sober. I don't doubt him, and I don't doubt I felt that way. Despite the fact that I had fucked up while intoxicated, fucked up perhaps irrevocably, I was still just biding my time and waiting to get the fuck off that wagon. I talked a big game in late January 2018 about things being "different," but y'all know how that shit goes. You change for a bit, then you slip back into old habits. Not even two months later, I'm getting blackout at the friends-only after hours baby shower.

I needed to be sober for that time period, and I do truly believe that if I hadn't done that and hadn't reached triple digits, then my life would be unquestionably different in ways that are hard to even fathom now. I'm talking divorce. I'm talking estrangement. I'm talking a steep mental decline. I'm talking death. But at the same time, the idea that there was some emotional change happening during that time period is fucking laughable. I did what I felt like I had to do and then it was right back to my old tricks. Time slowed me down enough anyway so that I could get by, at least for a few more years.

That's why it doesn't feel right or responsible to say that I "did this before," because I didn't. Yes, technically, the days were there, strung out in a row. But that wasn't sobriety. That was just a quick break between blackouts.

I've said before that I don't want to be too harsh on myself for the drinking, but I don't feel the same obligation when it comes to sobriety. I should be harsh on myself for thinking that any half-measure was worthy of remembering. 112 days? Fuck you. That's nothing, especially when you spent those 112 days just waiting for that next PBR and knowing full when that it would arrive eventually.

I mean, this is the real reason why I'll be celebrating 113 days next week. Not because I think that 113 is any better than any other number of sober days—let's celebrate 24 hours, let's celebrate ten years, it's all fucking great—but because 113 days sober will excise a demon that has been living within me since January 14, 2018. I can finally put to rest the bullshit facade that I built during that first go-around, and finally start saying, truthfully and honestly this time, that I've never been more sober.

I think a lot about BoJack Horseman when I'm writing these things. Not that the show was about sobriety, but it was mostly about the titular character, and a huge facet of BoJack's day-to-day existence was his substance abuse. And also, I decided to be sober during a rewatch of the series, so the thoughts about this character is for better or worse tied to those concurrent thoughts I was having during late-stage abuse and early-stage recovery. Today, I'm thinking about a conversation that BoJack and Todd have at the very end of the series (spoilers?), when BoJack is talking about his current stint of sobriety (in prison), and how he's kind of afraid of what will happen if he slips up and has another drink. And Todd's like, "Well, then you'll just get sober again."

I'm thinking about that because it speaks to how the idea of "days sober" is both important and not. It's important because it's something you can be proud of, and it gives you real momentum to keep going. But at the end of each day, the only thing that actually matters is that one day, and how you spent it. Doesn't matter if you have one day of sobriety, or 1000, or 112, or 113, or 0 after a fuck-up, what matters is that you were able to hold on for that one single day that you just went through. There's power in large numbers but I'm hesitant to assign too much power to them. My 113th will be the same as any of the previous 112. Except maybe I'll feel a little more free.

Summer Song Challenge, Day 32: Pam

Prompt: "A song that was important to you last week"

Selected by Pam


"Peaches"
Jack Black (Bowser)
The Super Mario Bros. Movie (Original Motion Picture Soundtrack), 2023

Sorry guys, more kid content here. Last week we went on a family vacation (I'm sure you've read about the week-long saga of Joe vs. my mom related to music volume—for the record, they are both extremes on opposite ends of the spectrum). If you have kids of a certain age, you probably already know that the new Mario Bros. movie came out relatively recently. In the movie, Bowser wants to marry Princess Peach (has this always been a thing in the world of Mario Bros.?). Bowser, voiced by Jack Black, sings this sort of epic love song about Peach, and both our kids and our niece and nephew are OBSESSED with this song, and not only played it on repeat throughout the week, but sang it a lot too. I FOR SURE listened to it more times than any of the songs on the Margo Price album that I picked and we reviewed for RC. Luckily, Jack Black is always funny, and he puts his own manic style into this song and makes it so much more tolerable than most of the other kid songs we typically listen to. And the video is pretty funny. Do I legitimately like this song...?

Summer Song Challenge, Day 32: Bob

Prompt: "A song that was important to you last week"

Selected by Bob


"Long Hard Times to Come"
Gangstagrass
single, 2010

Ever since the day of "the song about your favorite TV show," I have been binge watching Justified. I also just applied to the Abington Police Department. The two kind of go hand in hand, except Justified is about the U.S. Marshals. The song is like if hip hop met country music. Catchy. Good chorus. It's been on repeat (on my headphones and my TV). It's definitely different. But good.

Summer Song Challenge, Day 32: Walter

Prompt: "A song that was important to you last week"

Selected by Walter


"Highway Tune"
Greta Van Fleet
Black Smoke Rising EP, 2017

This song is as important as any when you're on the road. It fills the void of monotonous driving after the view of the Rocky Mountains has worn off because you feel sad your short weekend of fun is coming to an end. BACK TO WORK! "Highway Tune" reminds me, when I'm driving at 3 AM in the morning, to catch a 6 AM flight back to NYC, to appreciate that the road is ALL MINE! But that's probably not really what Greta Van Fleet meant to convey in this song. Instead, they're using the highway as a metaphor of moving fast through life with a loved one. In light of my trip to Breckenridge and Estes Park last week, I am reminded that the journey was accompanied with the love of my life, Alison. Sometimes I need to remember to slow down and enjoy each moment with her, because I can get wrapped up in the go-go-go of life. Enjoy that 3 AM drive with her, even if she is sleeping, because just the presence of a loved one should be cherished.

Summer Song Challenge, Day 32: Sam

Prompt: "A song that was important to you last week"

Selected by Sam


"Tooty Ta"
Jack Hartmann
Super Fun Learning Songs, 2017

Hate to go kids song back-to-back days, but such is my life. The only music I'm experiencing is either directly from this blog or my kids. No repeats on, like, Walter's or Pam's picks, so I'll let children guide me.

On vacation, my cousin's wife Susan has been singing this jam for a bit. Initially, we thought it was Jack Harlow due to a bit of miscommunication (what a world that would be!), but it's Mr. Hartmann. Fucking insane song but catchy.

Summer Song Challenge, Day 32: Stephan

Prompt: "A song that was important to you last week"

Selected by Stephan


"Key Lime Pie"
Kenny Chesney
Be as You Are (Songs from an Old Blue Chair), 2005

For the record, I think country is the worst genre of music. However, it is possibly the best choice when it comes to song for something simple, specific, and dumb—I'm looking at you, "Red Solo Cup" and "Big Green Tractor." I'm sure it's up for debate whether Kenny's pie reference is a euphemism, but I am unwilling to believe this song is about anything other than this sweet, tart pastry.

Moving on, most of my focus last week was on adapting a recipe for Atlantic Beach Pie, which, if you have never had, is a delicious citrus pie in a buttery, saltine cracker crust. My version uses a 75/25 mixture of key lime and lemon juice, and is finished with an unsweetened, tequila-infused whipped cream, lime zest, and flaky sea salt. Unlike this bad, but relevant, song, that pie was a super tasty, early summer treat that I can't wait to make again. Sorry PYoBers for subjecting you to this one. I owe you some pie!

Summer Song Challenge, Day 32: Maeve

Prompt: "A song that was important to you last week"

Selected by Maeve


"Not Strong Enough"
boygenius
the record, 2023

Where to start? This is my personal ~song of the summer~. You can read more about how I feel about this whole record, or should I say THE record (but read it as "the record"... ugh, this is more of a verbal joke I guess, but you get what I'm going for, right?) from my PoYB Record Club review. The song is the perfect encapsulation about how well their voices work together. They each get a verse, where the vocals build upon each other.

This song kicks off perfectly with simple guitar chords and then the lyrics, "Black hole opened in the kitchen / Every clock's a different time / It would only take the energy to fix it / I don't know know why I am the way I am"... damn. The first time I heard that verse, I paused and started the song over. Not to sound ultra millennial... but I felt SEEN. During the most recent daylight's savings time, I never changed the clock on my microwave and oven clocks. At first, it felt so mundane to do, but then the task became overwhelming, like so much time had passed, why even try? Definitely a touch of a "nothing matters, depressive nihilist behavior" that I can fall into when I'm at my worst. But then I noticed how much it pissed off my sister and friends to have the wrong time posted, and I couldn't change it. I might be a sad girl, but in my heart of hearts, I definitely want to laugh, while annoying the people around me. (Side note: the power went out in my building due to the storm yesterday and it's been 28 hours and I still haven't fixed the clocks, so this is really my heat check—complaining about this thing I've done, while doing it again. One day I'll learn.)

I really love that the repeated lyric of "I don't know why I am the way I am" is not posed as a question, but more an exhausted, "UGH I CAN'T HELP IT." I mean, who doesn't feel that? Who doesn't say that to themselves when they overtext strangers, when they can't help correcting someone during a story where it doesn't matter or when they get too drunk in a pool and cry to their best friends about how they think they've missed every opportunity for having a happy life? I mean, the lyric hits home. And the way it sounds melodically, "I don't... know whyyyyyyyy, I ammmmm..... the way........ I AM," it makes the sentiment stronger, how it's dragged out and professed.

The first chorus hammers home the sentiment of the first verse with, "I am not strong enough to be your man, I try, I can't stop staring at the ceiling fan and / Spinning out about things that haven't happened / Breathing in and out." Not to repeat myself, but Jesus Christ, this is relatable. Who hasn't spun out over things that haven't happened? Me—I do it 3x a day. Not to just break down the lyrics with a big "AMIRIGHT??!" but there's something to be said about how pretty and light this idea is sung, while how heavy and paralyzing it feels to me.

The second chorus changes the lyrics slightly. I truly love a chorus that sounds phonetically the same as the previous chorus, but it's changed the phrasing and flipped it. This time they sing, "I am not strong enough to be your man / I lie, I am just lowering your expectations." They backtrack to say, I actually am strong enough, and you didn't think I was, so I set your expectations low! It's perfect and, Jesus, once again hits home.
 
The bridge is a simple phrase repeated, with each girl (or boygenius boy) joining in repeatedly singing: "Always an angel, never a god." I watched an interview with Lucy Dacus where she explains it as, "[it's the idea of] receiving praise for being subservient. The best that you can do is be the best second in command. If you can't be powerless, at least you can excel in your powerlessness... that idea really annoys me." It's like this idea of being an angel, but not a god... you can never be the best, but if you repeat this mantra enough you'll be fine with being the second place angel. The first time I listened to this song, I connected so hard with this lyric. Not to be overly vulnerable on PoYB (which again, I know Joe is and we're all friends here), but the idea of being second place, or actually, someone's second choice has really hit *so* hard in the past month or two. And wow, singing this matra isn't positive, but it's almost me convincing myself that it doesn't matter, because who wants to be a god, when you can be an angel (not the point I know, I'm tricking myself with a fun melody instead of being hurt?!)?

The best part of this song is after the bridge, when Lucy's voice comes in on the third chorus, "I don't know why I am / the way IIIIIII AMMMMM."

Also, I'd be remiss to say that every time Beth and I walk to our local watering hole (mentioned in probably half of my posts) we truly just sing this album instead of talking. And normally it starts with us singing this song crossing the park after briefly complaining about something that went wrong at work and screaming, "I don't know why I am, the WAY I AM," which is followed by us fucking up the last few lines of Lucy's closing verse and then moving on to a different boygenius song instead of talking. Gotta save the gossip for the bar and belt it out outside.

Summer Song Challenge, Day 32: Pat

Prompt: "A song that was important to you last week"

Selected by Pat


"I Won't Say (I'm in Love)"
Megara and the Muses
Hercules: An Original Walt Disney Records Soundtrack, 1997

My two year-old is currently obsessed with Disney's Hercules. We watch it once every two days on average. I'm fine with this because I was young once and did the same thing to my parents when Hercules came out 26 years ago. Is it still divine retribution if you enjoy it?

After 30 or so viewings, I've decided that this is the best song, and Meg is the best character. I will not be taking questions. Let's just be thankful Susan Egan has not succumb to the same right-wing brain worms as her co-star.

Summer Song Challenge, Day 32: Nate

Prompt: "A song that was important to you last week"

Selected by Nate


"Do It Faster"
Militarie Gun
Life Under the Gun, 2023

I thrashed against his arms. I thought that if I struggled enough, even with his leverage, I could use my size to slip his arm, maybe use my left hand to grab the buzzer from him, maybe muscle through the shock on adrenaline and desperation alone. I know none of these thoughts showed on my face, but somehow he seemed to know I was thinking of prolonging the struggle.

"Please," he said. "I don't want to have to kill everyone on this bus."

I paused and looked at him. He wasn't smiling anymore. He looked sad, somewhat resigned, almost like he was pleading with me. The weight of his words, the effect they had on him, had an effect on me. I relaxed, dropped my arm slowly, tried to calm my breathing. "Okay," slipped out of my compressed windpipe, a raspy whisper that only her an I could here. He kept his arm pressed into my neck for a moment more, looking at my vacant face, and slowly let me go. I rubbed my neck with my hand, still felt the press of the stun gun on my left side.

"Can you move that, please," I asked, nodding toward the stun gun.

He shook his head, still looking at me, still looking shaken by his own words.

"You would really have done it, wouldn't you," I asked. He nodded. The bus rolled toward the Holland Tunnel, we said nothing as we slowly crawled through city traffic in the twilight sky. I thought about how to make a move to get out of this, what that move could possibly be.

"What happens now," I asked.

"Well," he said, "I suppose that is somewhat up to you. You should know that I was sent to you to do a job, and I will complete that job. Know that this is coming, regardless of the choices you make, but how that job is completed can be up to you, or at least certain details of how it is to be completed. Do you understand me so far?"

"I think so," I said. "I am going to die, and you are going to kill me, I suppose?"

He nodded, then looked into my eyes, studied my face for a few moments, then said, almost to himself, "hm, it's true."

I didn't say anything. I didn't want to give him the satisfaction. "Is Colleen alive?"

He sighed. "Would you believe me if I said that I did not know?" he asked. "I suppose it doesn't matter. I can only speculate, because I honestly do not know. I was given a job, and that job was you. Anything else is not for me to know."

I was angry, but I felt that anger cresting and rolling back. I was starting to feel tired more than anything else. I didn't even feel particularly afraid, which was a new sensation for me.

"I believe you," I said. "I understand working a job."

We were silent again, him looking at me, me looking out the window. We were through the tunnel now, working our way south into New Jersey. The bus should have gone over the Verrazano, I thought to myself, as the ugly manufacturing of the greater Newark area slowly crawled along our traffic-choked bus.

Eventually I turned back to my captor. "How would you have killed everyone on the bus? Were you serious about that?"

He frowned. "I was," he said. "It brings me no joy, this killing, not even killing you, but at least you are in the business somewhat, no? You understand the inherent risk of the work we do, the life we choose. These people..."

He waved his right hand out in front of us, to the scattered backs of heads on the bus sitting no more than 10 feet away.

"...These people, if they are not innocent, they are not guilty in a way that merits my judgment. They are outside the purview of my employer and I, is perhaps a better way to think of it. I do not consider myself a judge, only an instrument of my superiors. I suspect you understand that, too."

"I don't know that it benefits either of us to get into a conversation of how we got here, does it?"

Summer Song Challenge, Day 32: Joe

Prompt: "A song that was important to you last week"

Selected by Joe


"everyday feels like 9/11"
Home Is Where
the whaler, 2023

"Needing a vacation from the vacation" is such an American mindset, and I don't adhere to it. If a planned vacation is "too stressful" for you, then that's your fault and no one else's. You gotta set appropriate expectations for your travels and adventures. Like, you probably shouldn't expect to "relax" on a combined vacation for three families in one rural PA house, with five young children and daily trips to an amusement park. I know that for some people, "vacation" and "relaxation" are synonymous, but that's just simply not the case in every scenario. And I also don't think that "stress" necessarily has to fill the void that relaxation leaves during those types of vacations. You can be worn out in a good way. You can go hard and do the best you can and create some really cool memories for your toddlers even if it wears you down physically and even if they might not even remember it clearly anyway. That shit's worth it. Helps to have a really cool five-person family that mostly gets along and does a really good job at being optimistic and calm in otherwise stressful situations (e.g. the aforementioned amusement park). I had a really great time last week. I'm writing about last week, because that's what the prompt asks of me.

So you're not gonna hear me complain about anything, because there's nothing to complain about. But I do have one little habit during vacations like this that I find helpful, in terms of emotional health and wellness. At least once during the week, for like an hour max, I cook dinner. Nothing fancy; it's usually walking tacos, honestly. But being the chef for that meal gives me the excuse to be by myself, for just that one hour out of the whole week, which is enough for me. And during that hour, crucially, is when I get to listen to whatever music I want. Since there are aesthetic limitations otherwise, given the makeup and musical proclivities of those with whom I'm sharing the rental home, during that one solitary hour I'm usually choosing something I know for a fact that everyone else is going to hate. It's the only time I blast that shit all week, because what are people gonna say, "turn it off"? How about fuck you because I'm cooking your dinner currently?!

Last week's pick was the new Home Is Where album, titled the whaler. It's an emo album. Fifth-wave emo, to be precise. I barely know what that is, but I like knowing what "wave" Home Is Where is a part of, because that gives me a good A to the offensively emphasized Q of "what are you listening to?!" ("The fifth-wave emo band Home Is Where, with their new album the whaler," which is funny to say because it makes me seem more knowledgeable than I actually am, and appropriately confuses those who don't listen to anything besides Billy Joel while cooking dinner).

I think the title "everyday feels like 9/11" is silly in a hyperbolic way. I hate talking about 9/11 stories but I really enjoy emo bands that are able to scream like this. The former is never necessary, and the latter only occasionally is. It's all about knowing context, and what's appropriate when. Frontperson Brandon Macdonald is only screaming like this a little bit, and when she does she's really good at it. Feels good to listen to such a thing halfway through a week-long vacation while making ground turkey taco meat and dumping it into bags of crushed-up Nacho Cheese Doritos.

I don't even know if I "get it," like what the fuck is fifth-wave emo even? I know, I know, I can look it up, and I have (1st: emo derived from hardcore; 2nd: midwest emo; 3rd: emo pop, i.e. what you called "emo" in grade school, e.g. My Chemical Romance etc.; 4th: midwest emo revival; 5th: post-emo, i.e. emo czar Ian Cohen described this album as "emo reimagined as having gone from Dylan to Mangum to here" or something like that). Doesn't mean I could hear something and say "this sounds like fifth-wave emo." It's more the opposite, e.g. Home Is Where have actively described themselves as "fifth-wave," and so that's what I think of when I think of fifth-wave emo.

Doesn't really fucking matter for my purposes. It doesn't even matter whether they are being serious about the 9/11 stuff or just using it as an ironic statement or something. I don't care. This is all how-it-sounds stuff. I like how it sounds, and I like applying this sound to a particular context. That context is briefly recharging the battery while on a vacation that is explicitly designed to be the opposite of relaxing. During a week in which mostly every other musical moment was filled with endless repeats of Bowser's / Jack Black's "Peaches," I needed Home Is Where. It was important to me last week.

"Peaches" was important too but in a different way that I'm 99% certain that Pam, who had the same week that I did (minus the fifth-wave emo), will fill you in on today.

Summer Song Challenge, Day 32: Dave

Prompt: "A song that was important to you last week"

Selected by Dave


"Story of My Bros"
Dance Gavin Dance
Artifical Selection, 2018

This music challenge of as caused me to revisit many of the catalogs I used to frequent. I never loved Dance Gavin Dance to the extent that I did other bands of the genre, but I enjoyed them quite a bit, with the extent of my fandom culminating on Tube rides in London. This is now the second song I've chosen from Dance Gavin Dance for this challenge, so perhaps I'm reconsidering my fandom. This song must be the most depressing, upbeat song I've ever heard. It could actually fit the following two categories of Drugs or Sobriety, but I listened to this song like ten times last week, so it was pretty important.

Summer Song Challenge, Day 32: Fisher

Prompt: "A song that was important to you last week"

Selected by Fisher


"Just Dropped In (to See What Condition My Condition Was In)"
The First Edition
The First Edition, 1967

This song was the runner-up for my "More Than Eight Words" prompt. Turns out it shoulda been first, because my Busta submission didn't meet the prompt. I fucked that whole thing up. I can't believe it. One sentence worth of information. And I couldn't comprehend it. It's just embarrassing man. Unbelievable. UnrealThis song is so hard rockin' and I just have a groovy time with it. You have to join in on the "Yeah! Yeah! Oh yeah!"

The very title could keep you entertained for hours just thinking on it. Don't ever do that that's a lotta time.