12/30/2023 0 Comments Money grabber songThese two lovers are not the subject of the song it is the machine they found themselves caught within that torn them asunder. It is, after all, the music business they’re singing about, not one another. Don’t think for one moment this dance machine is gonna stop before running you over. There are people to entertain, dancers to inspire, good times to be fueled, so if you are suffering from a broken heart, that’s fine, but get the f*ck out of the way. It steamrolls forward in service of good times. His voice is the only human or natural substance in this environment, and he is drowning. It is also a struggle to escape from the synthesized prison that is this song. And millions upon millions of happy party and club goers over the last 30 years have rejoiced in the sound of an agonized man falling apart, joining him in the anthemic cry of this glorious chorus. The song reveals this by amping up its volume and pitch to a cry: ‘Don’t you want me baby?’ followed by ‘Don’t you want me? Ooooh!’ It’s too much for words. It is reminiscent of a devastated Roy Lichtenstein blonde reclining on a sofa, exaggerated tears coming from her eyes, barely able to speak so choked with emotion is she, her halting words captured in a cartoon voice bubble over her head.Īnd if he was desperate before, he’s terrified now. This means both ‘please don’t do this’, and it is a stutter from someone who is petrified, meaning it can also be heard as ‘Don’t.don’t you want me?’ as though his disbelief is such that he can barely allow the words, the question, to exit his mouth for fear of hearing the answer. The first line of the next verse is ‘Don’t.’ ![]() We haven’t even heard her response yet, and already we are sensing his desperation. Now five years later on you’ve got the world at your feetīut don’t forget it’s me who put you where you are now It appears however that these efforts have been lavished upon an ungrateful heart, as the first verse concludes with a chilling final sentence, if not outright threat: He continues to describe how her success was surely a result of his own Machiavellian maneuvers behind the scenes in the cutthroat music industry. You found her did you? Well, we’ll see what she has to say about that. He begins: ‘You were working as a waitress in a cocktail bar / when I found you’. This song’s lyrics basically consist of a he said/she said, back-and-forth dispute over ‘what happened’ between two former lovers in what seems like letters, or maybe voicemails, which at the time would have been cutting edge. I would argue that a structure is being put in place by the mechanized beat and technologically potent synths that foretell the doomed future of this relationship. Anything synthesized is (of course) synthetic, and therefore ‘not real’, and therefore distanced from feeling or, in this case, caring. Then come the bass-y, waver-y, futuristic synths. It’s clear there is no living, breathing drummer behind this beat and that matters. Twittery blips of a synth march in syncopated lockstep with artificial 16th notes played on a phantom hi-hat cymbal. The bass drum lands with a decisive thud each, and, every, time. ![]() It is metronomic, icily detached, and perfect. Why? What has kept this seemingly innocuous song about a break-up in the pop culture heavens? I re-heard this song recently on my iPod and it became more clear – to me anyway.įirst is the beat. But I would guess you’ve heard this song at least within the last year, probably the last 6 months, or if you ever go within spitting distance of the depressingly recent-seeming ‘classic’ radio stations spraying 70’s, 80’s and 90’s hits 24/7 – probably within the last week. But I think the Trebles win for of the feel-good factor! and Rivers, or the Treblemakers? Me, I like them both. They are performing their take on B.o.B.’s song ‘Magic’: Sob! Poor Benji! Fortunately, Benji gets his moment of redemption during the Treblemakers final performance: My favourite though is Benji, Jesse’s incredibly awkward roommate: And then there’s Rebel Wilson’s ‘Fat Amy’: But so does this movie! First of all, Skylar Astin is super duper as Jesse, the “nice guy” love interest to Anna Kendrick’s character, Beca. I cannot deny that that art and fancy cocktails do have their appeal. If you haven’t already seen the movie Pitch Perfect, I have only one question for you: WHYYYYYYYYYYY?Īre you so cool that you can’t take two hours out of your life to watch this adorably awesome film about dueling college acapella groups? You are, aren’t you? I bet you’re the kind of person who spends their Friday nights sipping fancy cocktails at parties thrown in swanky art galleries rather than dancing around your living room singing along to Ace of Base’s ‘The Sign’, aren’t you?
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