Who’s hot? Why?! Back in the day, EAR FARM used to check in with the Elbo.ws top 10 ‘hot’ artists on a weekly basis. Then we realized these charts didn’t fluctuate enough to warrant doing so every week and then we got lazy and stopped checking in over at Elbo.ws at all. Well, we’re back baby! Back to get a better idea of what the rest of the music blog world is talking about, which should give EAR FARM a chance to feature artists that everyone else is listening to who might not exactly be our “thing”. But maybe some of these bands/musicians are your thing right?
Either way: fire up those colortinis; this joint ’bout to blow up.
- Kanye West - “I realize that my place and position in history is that I will go down as the voice of this generation, of this decade, I will be the loudest voice,” says Sir Kanye. I guess this generation loves flatly sung melodies and vocoders à la Cher 1998…
Listen: “Bad News” (Radio Rip) (originally from HERE)
- Fleet Foxes - what do you want me to say? Sure they’re overly-popular in this insular world we’re all a part of - this year’s Tapes ‘n Tapes - but rightfully so. There’s too much knee jerk hatred out there for Fleet Foxes, but why? Punish them because they’ve found a sound that combines bits of Arcade Fire, Grizzly Bear, and CSNY? Nah, not me. They’re actually pretty good.
Listen: “White Winter Hymnal” (originally from HERE)
- Chromeo - between Fancy Footwork and She’s In Control, Chromeo have made some of the most danceable records of the past five years. You wouldn’t necessarily know that by reading EAR FARM, however, as they’ve received very little attention here. Doesn’t mean we don’t love them though! Freals. In fact, here’s what I’m going to do today: jam out to the remix of “100%” that’s posted below on repeat while singing along into a baguette as if it were a microphone, all the while eating escargot like they’re popcorn as Breathless plays in the background on mute. You too?! Nice. Hey, did you know that David Macklovitch from Chromeo teaches French at Columbia? Me either, until now. I think I’ll swing by there a bit later and see if maybe he wants to go grab some steak frites or something. Ah oui, comme ça… ah oui, comme ça.
Listen: “100%” [Treasure Fingers Remix] (originally from HERE)
- Justice - Une autre bande Française! These guys are good and all, especially live, which is well exhibited in the tracks from their most recent tour they’ve just released (listen below); however, I maintain that their greatest gift to the world will forever be teaching us all how to do this † with any standard keyboard. On a Mac: hold down option, click the “t”, get †. †††††††††††††††!
Listen: “Phantom Pt. 1.5″ (Live) (originally from HERE)
- Cut Copy - never has there been a more appropriate name. Highlight that which you’d like to imitate, click cut/copy, paste, and repeat. Cut Copy did just that to the entirety of ’80s new wave - it’s as if they listened to Fred for a year straight and ripped off every third song they heard. Not that there’s anything wrong with that. The remix that’s posted below takes away a bit of the bite of the original, smoothing out those edged corners ever so slightly at each turn. I think it’s actually better off for it.
Listen: “Far Away” (Hercules and Love Affair remix) (originally from HERE)
- Little Joy - this is Fabrizio Moretti’s new band, named after a bar. Coincidentally, the music they make is about as sleepy and bland as the inspiration behind the name. Q: what do you get when you dilute the tiresome music of The Strokes even further? A: shit like this.
Listen: “Keep Me In Mind” (originally from HERE)
- Lil Wayne - what is it with rappers trying to sing, but insisting on doing so with a vocoder? It’s neither cool, nor able to make your singing voice sound good. Come on Wayne, you got some turbo lyrics, stop trying to sound like Jeff Lynne from ELO. I mean The Alan Parsons Project. Er, Styx… no, late period Madonna/Cher. Wait, you’re right, singing into a vocoder is the coolest. My bad.
Listen: “Get Silly” (ft. Gudda Gudda) (originally from HERE)
- Jay-Z - yes! Jay-Z! No wait, what’s this? An uninspired song either about having sex with Beyoncé or the recent Presidential election. I’m guessing it’s actually the latter, and in that context it’s not a “terrible” song. But let’s hope that the rest of Blueprint 3 delivers a bit more than this musical Lunesta does or it’s going to take Jay-Z like twenty minutes to sell out The Garden next time. Wouldn’t that be embarrassing…
- The Killers - thanks. Thanks a LOT Rock Band for making me like The Killers. I did my best to avoid it for so long and now I’m here waiting on some beautiful boy to save me, just like everyone else. Nothing has changed with their sound - they’re still a ‘white bread with the crusts cut off’ kind of band - the difference is within me. Where I was laughing and making fun before, I’m singing along now. Can’t help it. Here it comes again… “The song maker says, ‘It ain’t so bad,’ the dream maker’s going make you mad. The spaceman says, ‘Everybody look down, it’s all in your mind.’”
Listen: “Spaceman” (originally from HERE)
- Vampire Weekend - what a couple of years these guys have had since Stereogum “broke” them back in January of ‘07… really though, how awesome is it when a band makes a debut album actually worthy of all of the hype that’s been built up around them? Love ‘em or hate ‘em, Vampire Weekend has been the real deal: great debut, excellent live show. But where do they go from here? My advice: wait three years, have one of your members become an alcoholic that goes out a lot and makes a fool out of himself - perhaps he dates Lindsay Lohan and Samantha Ronson in the process? - only to eventually hit up rehab, and then get the band back together, head into the studio with Brian Eno and lots of mushrooms, and create an entirely revised version of your sound. Do it. Masterpiece. Totally.
Listen: “The Kids Don’t Stand A Chance” (Chromeo Remix) (originally from HERE)
Traditional thought holds Black Friday – that wretchedly busy shopping day following Thanksgiving – as the de facto kickoff to the holiday shopping season. That’s all fine and well, but it doesn’t mean you can’t get a jump on your gift lists before then. And lest you think the stagnant economy gives you license to unload shoddy gifts on your beloved, the lifestyle police at Consumer Reports have just released their annual “Top 100 Products” to re-emphasize that nothing conveys affection like remortgaging your home for a nice present.
We took a look at many of the top electronics and home and personal accessories on the list and have decided - based on those having busy years in 2008 - which musicians and bands we feel would be most deserving of such niceties. Naughty or nice, coal or cookies, tis’ almost the season… Read more…
Bumper music is “a term used in the radio broadcasting industry to refer to short clips of music Read more…
Just in time for a nice holiday push, America’s favorite torchbearers of Liberace schmaltz – The Killers – return next month with the brand new studio album Day & Age. I say “brand new” somewhat loosely, however, and not because of all the chatter about how it’s a return to Hot Fuss’s synth-heavy hooks or any of that; nah, I’ll just keep insulating myself from critical interpretation of the Killers’ canon if it’s all the same to you.
You see, even without any prior research into readymade topics like the band’s “mission statement”, “evolution”, or “intent” on this album – all of which I’m sure will be peddled for journalist fodder on imminent magazine covers and such – I can tell you right now that there’s most likely not a hell of a lot about Day & Age that will be new or interesting.
The whole affair just has a worn feel to it, something that’s awfully familiar, and it’s not just in the Eurythmics-aping video for the first single “Human”, which finds Flowers and company in the desert wearing some sort of extinct bird’s plumage and in possession of a few Blue Man Group stage props (watch it HERE).
The real familiarity comes with the album’s tracklisting, a spread of 10 names so bland and hackneyed that you can’t help but feel they’ve already been used many times as song titles or derived from previous sources: Read more…
In many ways, Creem - self-proclaimed as “America’s Only Rock ‘n’ Roll Magazine” - set the template for current music blogs and new media sites. The outsider perspective, personal and subjective approach to stories and content, willingness to champion relatively unknown bands, and ability to spot trends early (Creem allegedly coined the term “punk rock”) are just some of the ways this Detroit-based publication helped revolutionize music journalism for future generations.
Of course, while Creem may share these characteristics with contemporary blogs, it also did all of these things about a hundred times better than anything out there right now. Where else could you read a live review of a Rolling Stones show written by Charles Bukowski (framed entirely around the venue’s coincidental proximity to a racetrack he enjoyed visiting)? Or enjoy a glossy cover hand-drawn by R. Crumb? Or have Lester Bangs, Cameron Crowe, Robert Christgau and Nick Tosches all on the same masthead? Exactly. From 1969 to 1989, Creem dared to elevate music journalism as a form of artistic expression in its own right.
I highly recommend checking out the recent hardcover Creem retrospective for an absolute assault on the senses. From this collection, we’ve culled some of our favorite cover shots over the years that we feel capture the spirit and energy of their particular era as well as of Creem’s own reckless bravado.
Read more…
From the Inside Looking Out is our opportunity to have those involved within the music world tell us a bit about things from their point of view. This time around, we have Daniel Neely
At some point during the summer of 2002, my mother-in-law sat my wife, her sister and I down to tell us how she “just loved that Ozzy Osmond and his wife Sharon,” because they took such good care of their kids. It was around the time the Osbournes reality show was getting popular and I think it was her way of being hip with the kids. It was probably the lounge-y version of “Crazy Train” they used for the theme that drew her in. Anyhow, two weeks later, we had finally stopped laughing about “Ozzy Osmond” and it began to dawn on us that Ozzy and his music had become more mainstream than we had realized.
This didn’t strike me as a bad thing. I grew up playing guitar and on occasion–like every adolescent boy with six strings and a dream–my friends and I would get together on Sabbath tunes. In fact, every kid in every band I knew growing up played Sabbath tunes. It was a kind of rite-of-passage that everyone went through. In my work Directing the New York State Musicians Index and Archive (NYMIA), I’ve come to notice that this hasn’t changed, so I started up a little project I call the “New York Black Sabbath Covers Project”. Here’s how it came about.
Read more…
Michigan-based quintet Mason Proper released their outstanding sophomore album Olly Oxen Free (Dovecote Records) yesterday. A tightly coiled collection of smart hooks, patient songwriting and restrained arrangements, Olly Oxen Free is both a creeper and an instant obsession, forging a comfortably warm landscape that often makes it damn hard for the listener to stop playing the first three songs on repeat (that is, until you realize how great the rest of the record is too). Bands like this - and albums like this - just don’t materialize from thin air, people. To that end, we cornered lead singer Jonathan Visger and prodded him with a vague series of origin-themed questions, from songs to cover art and lasagna to the gentle art of naming one’s band. Enjoy the inquisition… Read more…
Whether by design or sheer coincidence, two seemingly unrelated Top 100 lists have popped up within the past week to forge a sort of perfect storm of pointless analysis and time-wasting critique. The lists themselves are enormously interesting and informational; it’s my own uncontrollable urge to conflate the two that presents the black hole of inanity. Vain hopes of unlocking the hidden synchronicity amongst their ordered logic consume me. Numbers swell backwards and forwards in a taunting ebb and flow. 100 to 1 and 100 to 1. What’s the connection? Your asses are mine, lists; show yourselves. Read more…
The best words in music don’t always have to flow forth from painfully constructed song lyrics. Often enough, it’s the peripheral white noise of everyday idle chatter, catty back and forths, out-of-context quotes, musings, ramblings and ill-advised blog postings surrounding the actual music that provides the most fun and enlightenment for the armchair frontman.
Part “they actually said that?” part “wow, that’s fairly interesting” part “no shit dummy” part “Musicians: they’re just like us! (in that they also speak and write?)” and part “oh that quote must belong to Courtney Love”, we offer you a bit of a roundup of the latest words heard round the campfire over the past few days. Turn your thinking caps off… Read more…
What’s this? It’s a pop song BATTLE! With a twist. Instead of only two artists squaring off over the same song, like we did last time with “See You Again” by Miley Cyrus, we’ve got four different artists and five different versions of the same song this time around. It’s a Royal Rumble! Our song: the post-punk goth classic “A Forest”. Our competitors: The Cure (original composers of our contended song), Bat For Lashes (art school student turned rock chanteuse), Nouvelle Vague (Bossa nova cover version maestros), Toadies (composers of ’90s alternative hit “Possum Kingdom”), and The Cure (again, you’ll see). How did we get here, and where are we going? Read more…
Oh, Pretty Boy, Can’t You Show Me Nothing But Surrender?
Horses, horses, horses, horses
Comin in in all directions
White shining silver studs with their nose in flames,
He saw horses, horses, horses, horses, horses, horses, horses, horses…
So opens Steven Sebring’s (above left) new film, Patti Smith: Dream of Life––or at least the photographic equivalent of the well-known Smith verse does. The first shot poetically depicts a slow-galloping pack of horses against a red background. Enter Smith’s narrating voice and a series of even more elegant images.
Patti Smith: Dream of Life endeavors to be true to its subject matter. It is a reflection of the artist and her art, reaped from the very root of her ideas. Accordingly, the film bends common conceptions of narrative and genre. It is neither a concert documentary, nor a biography of Smith’s life. It does not dwell on Smith’s music or poetry, nor does it expound upon the historical or social context of her art. No, Sebring’s film is a rhythmic meditation on an artist, an act of observance and detached reverence. By employing such a grand visual collage, Sebring reveals that his love for Smith is quite a brainiac-amour. But no more.
Steven Sebring met Patti Smith in 1995, when Spin magazine hired Sebring to do a photo-shoot with Smith. Smith agreed based on the recommendation of Sebring by Michael Stipe. Something magical must have happened on that shoot: for the next 12 years Sebring followed Smith all over the globe, immersing himself in her home life, her stage persona, her personal adventures, her entire world…
In an interview with Filmmaker magazine, Sebring describes a relationship that, to some, may resemble stalking: “I would usually meet her on tour. Like when she went to Japan, I said, ‘I’m going to go to Japan,’ and she wouldn’t believe me. And then I’d show up and she’d be like, ‘Are you kidding me?’ That’s the way it was. At her mother and father’s house in Jersey, it was like ‘I’m gonna go to my Mom and Dad’s house — do you wanna come?’ I said, ‘Yeah, of course!’ So it was like that kind of thing throughout the years.”
But this is obviously the most natural way to film a Smith biography. I mean, let’s be honest, who wouldn’t want to follow Patti Smith around? Going to each and every concert, visiting the graves of Arthur Rimbaud and William Blake, hanging out with her both at home and backstage, not to mention chilling with her parents in the house Smith grew up in… Yes, you can accurately state that Sebring is one lucky bastard. If I had a job like that, I think I’d just continue following her around for as long as possible, never actually making the film, but pretending to by carrying around a video camera at all times.
However, Sebring’s reverence––obsession, if you prefer––presents an alternative implication. One scene, in which Sebring follows Smith to the grave of Arthur Rimbaud, casts this relationship under a fresh light.
The camera shows Smith wandering around Rimbaud’s gravesite, focusing on the way she absorbs his spirit from the natural setting. Next Smith stomps around a wooded area where he once stomped, and sits in a urinal he used more than a hundred years ago. Patti Smith never had the chance to meet her hero, so she settles on the sensation she garners from his gravesite. Recognizing these poetic and musical influences is essential to understanding her art. Smith’s music and lyrics are inextricably linked to dead poets and rockers: to Gregory Corso, to William Burroughs, to Jim Morrison, to Jimi Hendrix. Their spirits enable her to create a beauty all her own.
Steven Sebring grasps this phenomenon and imitates the process; but the key difference is that his muse is still alive and in front of his camera at all times. Sebring travels to be around the spirit of his muse while she travels to be around the spirit of hers. Again: the only natural way to make a Patti Smith film is to be around her at all times, soaking in her energy and watching her soak in energy from her own sources. These are the transferences that guide this film and give it life.
Patti Smith: Dream of Life is the product of an intricate relationship. By persisting in close proximity to Smith’s creative energy for twelve years––by watching and observing and learning from his muse––Sebring was able to make his own, very remarkable, work of art. Go Sebring, go and do the watusi, oh do the watusi.
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View the Patti Smith: Dream of Life trailer.
Visit Patti Smith on MySpace.
Below you will find a list of some of our favorite music-focused sites on the web, one for each letter of the alphabet. Though this can not be viewed as a complete list (some letters are bigger (and better) than others, which means many quality sites have been left off), this list does in fact feature twenty six of the best music sites in the world, covering a variety of styles, formats, and genres. Please leave suggestions of your own favorites, or ones that should’ve been included here, in the comments.
Allmusic.com - though it’s often one of the slowest loading sites on the web, it’s also one of the most comprehensive. An essential visit for information about nearly any musician/music industry type who has ever be involved in making a record.
BrooklynVegan - if you can refrain from getting sucked into the mindless vortex of the comment section, BrooklynVegan is worthy of multiple daily visits to find out who is/has played New York area shows and to find out other pertinent musical (with an indie slant) news and events. Consistently solid photos and mini-features that are getting better and better.
Contrast Podcast - The Contrast Podcast started in March 2006 and has seen the production of one episode each week since then, usually published on Tuesdays. The podcast works like this: a theme is chosen and then a variety of contributors choose songs based on that theme and record witty and interesting spoken introductions which they send to Tim Young who compiles them into a lovely podcast.
Daytrotter - slowly becoming today’s version of the Peel Sessions, this site compiles fantastic live sessions with artists at Futureappletree Studio One in downtown Rock Island, Ill. The Session Archive should keep you happily busy for a month or so.
Elbo.ws - this music blog aggregator tracks the posts on thousands of sites and reproduces them as snippets with tagged MP3s. If you’re looking for a song online, start here. It’s well designed and essential.
Fluxblog - the Godfather of music blogging, Matthew Perpetua posts about songs and the occasional live show with equal parts personality and nerdy insight. Great taste to boot.
Gorilla vs. Bear - want to keep up with all of the in-the-know middle America Joneses and see a few backstage Polaroids of musicians too? Then this is your site. It’s got a great taste filter that continually assures quality music is being posted.
Heartonastick - not always strictly about music, and not updated as often as I’d like… but still, J from Heartonastick is one of the best writers out there when he’s on. Also, a refreshingly competent researcher and scourer of the internets. Good times.
Idolator - some of the posts feel as though the staff is being whipped by a slave master who is forcing them to pump out post after post after post. SOME. However, the rest of the articles make up for the drivel as they feature breaking news, lists, links, and (often) seriously well thought out essays.
John Peel Everyday - currently undergoing some technical difficulties but “back soon”, this site posts recordings of old John Peel radio shows because, as the author puts it, “I miss John Peel every day and I know I’m not alone in this”.
KEXP - one of the top radio stations on the planet that lets you listen live online. Their programming is top notch.
Largehearted Boy - daily news bits, daily (legal) MP3s, the best new release tracker online, and frequent features on books and reading make this one of my very most favorites sites. Once you start reading you’re sure to go back every day.
Merry Swankster - great writing from a staff that’s spread out across the country… in a world of alllooksames this site stands out.
NYC Taper - records New York area shows and posts them as FLACs and MP3s for users to download. Top notch bootleg sound. If you go to a show in NYC check in here to see if they’ve attended as well - it makes for a great way to relive that amazing concert.
Oh My Rockness - New York, LA, and Chicago music fans should be checking this site for continually updated concert listings. If you like indie rock, they’ve got you covered.
Pitchfork TV - forget about the other Pitchfork, this one’s where the good shit is happening. Goodbye MTV. Hello Pitchfork TV!
Quiet Color - it’s a new one, but Quiet Color is showing promise with good taste, tons of updates, and some rather well put together words, stills, and videos.
RollingStone - inching towards irrelevance, this deity of music journalism is still worth visiting in online form, at the very least, because of their searchable archives.
Said the Gramophone - good writing is often hard to find when it comes to music sites. When it comes to Said the Gramophone, you’ll find good writing and great music posted nearly every day.
Tiny Mix Tapes - swell design, good writing, articles, reviews, features, and the old trusty Automatic Mix Tape Generator keep this site ranking very high on my list of favorites.
Uncensored Interview - is “a broadband video platform for indie music artists and fans to be seen and heard in their truest form - uncensored and real.” Basically, it rules.
Vulture - NY Magazine’s entertainment blog covers music news, live shows, rumors, lists, celebrity sightings, and leaks. Worth a visit once a week.
WOXY - “the future of rock and roll” is still alive and well online. Easily the best radio station that I’ve ever heard.
XLR8R - reviews, news, features, MP3s, videos… this site has it all. Plus, it’s also published as a magazine. Hot.
You Ain’t No Picasso - ever want to know what your average college aged Midwestern American male music nerd is listening to? Check out You Ain’t No Picasso.
ZME Music - comprehensive blog covering a very wide variety of genres and styles but focusing on the more popular bands out there, ZME Music is well-designed and has a few features worth keeping an eye on (such as the apparently deceased Wednesday Smiler Jerker).
*front image from HERE.
From the Inside Looking Out is our opportunity to have musicians tell us a bit about the music world from their point of view. This time around, we’re thrilled to have Leo Maymind from Spanish Prisoners detail his experience opening for and playing with Daniel Johnston.
Daniel and I sat on a small, squat couch in a room filled with people. I had no idea whom most of them were, and I’m fairly certain Daniel didn’t know or care who they were either as he sipped on a diet soda and stared into one corner of the small green room of the Highline Ballroom unknowingly. Read more…
Sexuality: perhaps the last frontier in the neuroscientific field of Things Deep In Our Hearts That Confuse And Scare Us That We Have To Confront Someday But Not Just Yet. “Sexuality is not simply an attribute one has or a disposition or a patterned set of inclinations. It is a mode of being disposed toward others, including in the mode of fantasy, and sometimes only in the mode of fantasy.” So says Judith Butler in Undoing Gender, arguing that sexuality and even gender itself are big, fat lies, performances not grounded in anatomical reality—and not just in Bangkok, right here in God’s America. To which I say, where do you draw the line between performed and real, Judith Butler? Date My Mom? Ohio State v. Michigan? Rock Band??
These are questions we in Music Video Studies now must grapple with, like it or not, thanks to Katy Perry. With the June release of “I Kissed a Girl” to the YouTubed masses, Ms. Perry seemingly flaunts her “disposition” in a gold lamé muffin-wrapper dress. In the video, as you see, she’s able to “try on” her newfound mode of being in an environment safe from men, dark colors, and normative sexual constructs. “It’s just human nature,” she coos, unconvincingly. Sounding like an ebullient, beautiful songbird trapped inside a talkbox, Perry prances across two whole sets with a cadre of carefully-selected-to-include-all-the-races women. The camera cuts, at intervals, to close-ups of breasts, bare legs, and the like, helpfully reminding the viewer that there are appealing aspects of women. At 2:08, a pillow fight develops. Pretty anodyne lipstick (or indeed, cherry chapstick) lesbian fare, but that’s all right—we eagerly anticipate the song title’s all-but-promised money shot…er, resolution of the discourse of sexual subject reification.
Spoiler alert: I am about to disclose the details of the titular girl-kissing. 2:49, alllllll right, here we go. 2:52, she’s in bed, should be any second now… 2:58, she’s…wait, is that…is that a man in bed with her? 3:05, it’s over. Tee-hee, it was all a dream! No girls were kissed in the filming of this music video! Are you serious? Are you truly serious, Katy Perry? Not a split-second of mouth-to-mouth? Like you, dear reader, I approached this video with just one modest but resolute expectation: the kissing of a girl (and at least a simulation of liking it would have been an added bonus, certainly). This foulest of deceptions is like buying an ice cream cake, but when you cut it open, it’s filled with bees instead. Or, maybe not bees, but it’s filled with regular old cake filling, which in some ways is almost worse, since no one’s going to care about your stupid mislabeled-ice-cream-cake story unless there are bees involved. “I Kissed a Girl” is a video that delivers neither bees nor delicious ice cream filling.
Back in the warm and comforting bosom of heteronormativity, Ms. Perry, we find in the end, was simply in the mode of fantasy, as J-But herself might have predicted.
But this isn’t the first time Perry has interrogated our performances of sexuality. Another winner of a Katy Perry original “Ur [sic] So Gay,” set against a backdrop of blue sky and Super Mario World smiley-face clouds, gives mellifluous voice to thousands of mute Facebook wall posts; indeed, the more cumbersome working title was “OMG Ur So Gay.”
The casting choice in this stop-action gem is an apt one. The gay in question is a soy-loving Ken doll who drives a hybrid (why? Try a word association: hybrid > electric transportation > trolleys > San Francisco > Treaty of San Francisco officially ending World War II > gay). He primps, he pouts, he posts pensive self-portraits on his MySpace. He gives cupped-hand high-fives to dudes, which is the gay terrorist fist jab. Meanwhile his would-be Barbie cuts and dyes her hair, to no avail, for in the dramatic final scene, all is revealed, Ken-wise: below the belt, there is a void. Barbie is thrown for a loop of course, but just beyond the scene sits Judith Butler, looking all smug.
Where “I Kissed a Girl” is frustratingly murky on the subject of how gay one should or should not be (”felt so wrong,” but then consider: “felt so right”) and the extent to which one should like that, “Ur So Gay” is refreshingly unequivocal. Girls, forget these dickless, shiraz-guzzling, environment-caring-about homos, Ms. Perry advises. A real man greets his girl with a heart full of Pepe Lopez and a head full of I’ll stay out however the fuck late I want and you know there should be a bowl of cookie dough waiting for me when I get home, woman.