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01:44 AM on 11/27/12
#1
brussel sprouts
You, Me and Everyone We KNow
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dude really lost his testicles after the first couple eps.

How do you mean?
04:06 PM on 11/28/12
#2
brussel sprouts
You, Me and Everyone We KNow
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Well, first I have to admit that that statement was a bit hyperbolic, and it's really a matter of personal taste, but...

I think, more than anything, the thing that really turned me on to YMAEWK in the beginning was the masculine badassery and general awesomeness of the music compared to the majority of the bands in the genre. It was a breath of fresh air to hear someone singing about sluts being sluts, dumbass bimbos we use for sex, etc. and not the generic toolbox lyrics that have become ubiquitous in emo/pop-punk. It seems like this vibe of badassery was mostly missing on Some Things Don't Wash Out, and the sound on the album was oriented more towards YMAEWK'S female fanbase than previous releases. Though I still really liked the album, this perceived lack of what initially made me love YMAEWK disappointed me immensely and made it fall short of the first EP. Comparing a song like Dirty Laundry to, say, I'm Losing Weight for You or A Bigger Point of Pride, I personally get the impression that the music really lost some "balls" in terms of lyrics and overall sound.

The perfect analogy for this would be the progression of the Bemis and Say Anything; IARB obviously had kickass lyrics - possibly the best lyrics of any album in the genre. There was distinct, unabashed masculinity, and perhaps even misogyny, to the lyrics that I had never heard in the genre before. I never had to feel embarrassed for listening to the album in a car full of sausages. Even the most sentimental songs, like Alive with the Glory of Love for example, had a tone of badassery that kept the Bemis from entering toolbox territory. This tone was missing in 99% of pop/emo music at the time (and is still missing), and I think that (among other things, of course) it was what gave IARB a massive appeal to males that other emo albums never could muster, and it allowed SA to move beyond genre limitations to reach widespread acclaim among all audiences. Then, after IARB, there was a gradual but clear transformation as Bem-Dawg became more popular and self-assured (I assume that's the reason) and then we started getting songs like Shiksa (still one of my favorite SA songs regardless of the shitty chorus lyrics) and mother-fucking Crush'd. Now I love the self-titled, and i even think Crush'd is a quality song, but, starting with the self-titled, I really had to start making excuses with myself to like these songs and search for reasons to approve of the lyrics. SA started becoming as much of a guilty pleasure as bands like Cute Is What We Aim For or Mayday Parade. SA, I think, lost the universal appeal that was present in IARB and became more of a typical emo band.

Of course YMAEWK hasn't even approached the point that Bemis has reached, but the principle is the same, and it's what I was trying to allude to in my admittedly hyperbolic statement above. All of this might make me sound a bit misogynistic - certainly politically incorrect at least - and the uber-liberals on AP might pounce on me, but actually, I think that political incorrectness might have been exactly what appealed to me - YMAEWK wasn't afraid to write about wanting to fuck sluts or dicks out and pissing. It seems like now they might be afraid to offend (or just creep out) their female listeners.

Well, first I have to admit that that statement was a bit hyperbolic, and it's really a matter of personal taste, but...

I think, more than anything, the thing that really turned me on to YMAEWK in the beginning was the masculine badassery and general awesomeness of the music compared to the majority of the bands in the genre. It was a breath of fresh air to hear someone singing about sluts being sluts, dumbass bimbos we use for sex, etc. and not the generic toolbox lyrics that have become ubiquitous in emo/pop-punk. It seems like this vibe of badassery was mostly missing on Some Things Don't Wash Out, and the sound on the album was oriented more towards YMAEWK'S female fanbase than previous releases. Though I still really liked the album, this perceived lack of what initially made me love YMAEWK disappointed me immensely and made it fall short of the first EP. Comparing a song like Dirty Laundry to, say, I'm Losing Weight for You or A Bigger Point of Pride, I personally get the impression that the music really lost some "balls" in terms of lyrics and overall sound.

The perfect analogy for this would be the progression of the Bemis and Say Anything; IARB obviously had kickass lyrics - possibly the best lyrics of any album in the genre. There was distinct, unabashed masculinity, and perhaps even misogyny, to the lyrics that I had never heard in the genre before. I never had to feel embarrassed for listening to the album in a car full of sausages. Even the most sentimental songs, like Alive with the Glory of Love for example, had a tone of badassery that kept the Bemis from entering toolbox territory. This tone was missing in 99% of pop/emo music at the time (and is still missing), and I think that (among other things, of course) it was what gave IARB a massive appeal to males that other emo albums never could muster, and it allowed SA to move beyond genre limitations to reach widespread acclaim among all audiences. Then, after IARB, there was a gradual but clear transformation as Bem-Dawg became more popular and self-assured (I assume that's the reason) and then we started getting songs like Shiksa (still one of my favorite SA songs regardless of the shitty chorus lyrics) and mother-fucking Crush'd. Now I love the self-titled, and i even think Crush'd is a quality song, but, starting with the self-titled, I really had to start making excuses with myself to like these songs and search for reasons to approve of the lyrics. SA started becoming as much of a guilty pleasure as bands like Cute Is What We Aim For or Mayday Parade. SA, I think, lost the universal appeal that was present in IARB and became more of a typical emo band.

Of course YMAEWK hasn't even approached the point that Bemis has reached, but the principle is the same, and it's what I was trying to allude to in my admittedly hyperbolic statement above. All of this might make me sound a bit misogynistic - certainly politically incorrect at least - and the uber-liberals on AP might pounce on me, but actually, I think that political incorrectness might have been exactly what appealed to me - YMAEWK wasn't afraid to write about wanting to fuck sluts or dicks out and pissing. It seems like now they might be afraid to offend (or just creep out) their female listeners.

I'm afraid you may have misinterpreted parts of those songs. The songs and lyrics you mentioned were admissions of guilt and very confessory in nature, not a celebration or pronouncement. I think the use of language has become better over the years, making it possible to save vulgarity for when it really needs to drive a point home. "more deserving of men left to rot in a rag" may be one of the grossest lines written in the band's discography but I think it's done in a smart way.

I was much more depressed, drunk, and angry about alot of things I didn't understand back then. You've obviously paid attention to the lyrical content and I think theres a clear path going from being entirely engulfed in a life of drinking, sleeping around, and depression in the 1st ep to there being a hint of inner reflection and questioning the way I was living on the 2nd, to me being clearly unhappy with myself and wanting to change myself but struggling with sticking to it and figuring out just how to do so. The 3rd was an unfortunate step backwards as my drinking and depression got alot worse in the winter of 2010-2011. We all know how that turned out.

I don't fault you for anything you've said. I don't consider myself a very bashful writer even now. I just moved on from that kind lifestyle. People grow, hopefully for the better. Thanks for listening man, I appreciate you putting so much thought into the response.
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