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By James Pavel

No rapper in hip hop embodies the quintessential modern-day word smith like Aubrey Drake Graham.

Drake is less gun play more word play.

He proves that in the modern era, one exerts more swag by wearing a well-tailored suit on the cover of GQ rather than throwing up esoteric gang signs on the cover of XXL or The Source Magazine. Drake’s upcoming album ‘Views from the 6’ is the most hyped album of the year by a titanic size. Drake’s stake with the Toronto Raptors features a role that rappers a mere 15 years ago openly fantasized about without a notion that it would one day be possible for an MC from Canada.

It is too early to deliver a verdict on ‘Views from the 6’ but the fact that it has become such a centerpiece of music conversation for such a lengthy period of time speaks to the influence that Drake controls. Yes, Kanye West’s new album has gained plenty of attention but partially because Kanye is such a desirable centre of ridicule. West admitted that 2014 was the year of Drake and not of Mr. West. The problem for ‘Ye’ is that he has yet to reclaim the throne from the Canadian MC. Jay-Z jumping on a track every time a Drake album drops places a clear stamp of approval on Drake’s Toronto forehead regardless of how differently Drizzy nay-sayers or even Kanye, may feel.

Along with Kyle Lowry and Demar DeRozan, Drake is the face of the Toronto Raptors. Yet as you obviously know, Drake does NOT play for the Raptors. Think about that. He has actually made a Raptor hat more famous than a Raptor can. Drake sits court side because he can afford it but mainly because he is the official ambassador of the Toronto Raptors. Sure, he slaps hands with Steph Curry and Lebron James when they are in town because who the hell wouldn’t?

Drake reigns supreme because he’s reppin’ a city that never has been repped outside of Canada. And folks, he’s not just rapping about it. He’s singing, he’s crooning and he’s dancing inside glowing fluorescent cubes without a care in the 6.


By James Pavel

Don’t blame Paulina Gretzky for the squabbling over the recent cover of Golf Digest. No no, the blame for the consistent sexualization of women’s sports lies squarely on the broad shoulders of men.

Sex, sex, sex. That’s right. For at least fifteen hours a day, men have naked women dressed as nurses and French maids marching circles around their membrane while they pretend to be productive. Sure, we make time for a job and plus we’ve evolved slightly over the past 15 years. Improvements in cooking, attire and the elimination of undesirable hair downstairs have become proud badges of the modern man. But don’t give us too much credit.

And definitely don’t blame Paulina Gretzky. It’s not just beating a dead horse. It’s beating an entire horsey cemetery.

The perverted and sexually repulsive brain of a man will make a woman wearing a turtleneck and long johns morph into a Victoria Secret angel.

There is nothing wrong with women’s sport. The 2014 Olympic hockey final between USA and Canada was one of the most dramatic  endings you’ll ever witness. Women’s World Cup soccer is seat-of-your-pants action these days.

Poor Paulina isn’t adding any injury to women’s sport that did not already exist. Men can cheer for the female red team or the ladies in blue. And we will do it sincerely and loudly. But you have to forgive us. At some point, sexual thoughts will infiltrate our brain like a snake’s venom and temporarily leave us determining what Halloween costume would look the best on number seven in blue.

It’s not women’s sport. It’s the psyche of the majority of heterosexual men. Paulina Gretzky is well aware of this. No, she is not a star athlete. But she is getting married to a professional golfer and every man that loves a bag of clubs and hot blondes would love to see them paired together.

That’s what Golf Digest has done. It’s for the money. It’s for the readership. But it’s mainly because men still and always will have primal instincts that cry for the sexualization of anything of age and with curves.

Let’s also not forget that Gretzky Jr. has a rack that possesses the magic of thirty wizards and a stomach flatter than Saskatchewan. She is stunning. And she probably likes golf. So she did what she does best (look pretty) and posed on the front of a magazine that is right now the hottest cover on the shelves.

Women’s sport deserves better. On behalf of men, I want to say sorry, but it’s an empty apology.

When Julia Roberts asked Clive Owen why sex is so important in the film “Closer,” he responds with an animalistic yell, “Because I’m a fucking caveman!”

Although he was speaking in character, he could easily have been answering the question as to why men will always attempt to inject sex into women’s sports.

By James Pavel

5. Saturday Night – Whigfield

It was catchier than H1N1 bird flu and was everything Saturday night dreams are made of. All the kids who grew up watching Saturday morning cartoons in the 90s had this song as inspiration for the day they were old enough to shoot tequila and behave outrageously.  It’s similar to EDM of today except has a melody, chorus and is an actual song that relates to humans and not cyborgs.

4. Saturday Come Slow – Massive Attack

The anticipation for a weekend can be overwhelming, but perhaps a tad painful if the results continue to be the same. Another weekend gone by without the expected fireworks and midnight magic that only a boozy weekend can supply is what Massive Attack appear to be alluding to. They might just be pleasure delayers, but maybe they are sick of counting down the days until Saturday night only to wake up in the same cold and empty bed.


3. Saturday Night Fever – The Bee Gees

In some circles, to dislike the BeeGees is akin to defacing The Queen’s face while urinating on a tombstone. The BeeGees are disco angels, particularly Barry Gibb, who has the voice that could make the girl with the dragon tattoo weep like a sissy. There is an unmistakable mood that accompanies a Saturday, as if any sort of debauchery is possible. It’s not a sickness, nor is it madness, just a misery-free fever.


2. Saturday Night’s Alright (For Fighting) – Elton John

Elton John is at his most brash and biligerent, traits that seem to only emerge for many when Saturday night rolls into town. “Saturday Night” is as rough and tough as an alley street fight and its this sheer danger that makes this song as notorious as one of Elton John’s outlandish outfits.

1. S-A-T-U-R-D-A-Y Night – Bay City Rollers

Bay City Rollers merge high school cheerleading with a boozy campfire to form Saturday night’s greatest anthem. It’s that twinkle in the eye of a handsome stranger across the camp fire. It’s a group of pissed up lads howling at the moon like a pack of wolves. It’s the strawberry blonde finally giving it up to the town cowboy. The song encompasses everything a Saturday night could be and ought to be. Bay City Rollers are grinning from ear to ear and it’s not just from another swig of the moonshine. It’s Saturday night, the night when work shoes are replaced by high heels, suits are left on the bedroom floor in favour of leather jackets and pretty girls look just a bit prettier. You haven’t smoked since last Saturday, you haven’t allowed work to escape your brain, but everything changed the minute you realized it was the freakin’ weekend.


By James Pavel

Family quartet Kings of Leon lit Calgary’s ScotiaBank Saddledome and Edmonton’s Rexall Place on fire this past Tuesday and Wednesday while promoting their latest album, Mechanical Bull.

KOL focused heavily on their current recordings, which blended in perfectly with their earlier material much like a fine Tennessee Whiskey. “SuperSoaker,” “Temple,” “Wait for me,” were three of the stand-out new tracks on the block while classics such as “On Call” and “The Bucket” sounded meatier than ever.

Predictably, the loudest pop from the Calgary crowd came via “Use Somebody,” and later “Sex on Fire,” which remain their two most popular singles off their most successful album, “Only by the Night.” Although the boys don’t seem to as passionate about playing the two monster hits as say more obscure material, they still seem to appreciate that the two songs alone have afforded them a lifetime of luxury.

What is special about watching a band as talented as the Kings evolve is how they have laid out a foundation of what appears to be what they consider their strongest material, regardless of whether the songs were ever released as singles. “The Immortals,” “Back Down South,” and arguably their masterpiece and strongest contribution to rock n’ roll, “Cold Desert” have become pillars of the KOL stadium kingdom.

The crowds were on a much smaller scale than what the boys have become accustomed to, but their demeanour on stage has improved significantly since the tour prior to their tumultuous and temporary breakup. The Kings of Leon, and particularly lead singer Caleb Followill are roaring loudly again, and appear thirsty for another run at the throne of rock n’ roll.


By James Pavel

5. Love on Top

She’s tipsy off bubbly in the hot tub of her personal limousine with 80s’ pop blaring through New York City. OK none of that happened, but there is something about “Love on Top” that sounds like a love child between Prince and Tina Turner.

4. Bootylicious

Am I partial to this track because I am a sucker for anything Fleetwood Mac related? Probably. Nonetheless, this remains one of the sexiest songs of all time. The key term being sexy, and not scandalous or borderline pirate-hookerish, like say, “Dirrty” by X-tina, or “Slave 4 U” by Britney. “Bootylicious” was dance floor mania that gave all the women sporting extra jelly the courage to finally shake what not just their mama, but an entire family tree gave them to make rumble like a Japanese earthquake.

3. Irreplaceable

Even when present in a nasty breakup, Knowles still has majestic rhythm. Men are created equal, which means when B shows you the door, there is a lineup of clones awaiting outside her million-dollar fortress. This track is the last of her truly venomous shots of anguish at cheating men as her later material seems to hint at happier times.

2. If I Were a Boy

If she was a boy, fearful and ashamed men would no longer have a problem welcoming a transvestite into their bedroom. B is merely weighing the options and in doing so, breaks down how easy it is for a man, and how difficult life in general is for a woman. The song highlights B’s notable use of the acoustic guitar in her career, an intriguing advancement that none of her peers have really attempted. The song’s concept and the use of the guitar demonstrate her method of again thinking outside hip-hop/RnB’s narrow and shallow square box and converting a predictable shape into a beautiful diamond.

1. XO

B isn’t just a cheerleader of love, but one of its glowing champions. She isn’t done shaking her booty or boasting her independence. No, she remains as strong as a prized ox, but she doesn’t shy away from allowing herself to become completely consumed with pure and unfiltered hugs and kisses. She demands relentless and pertinacious affection, till the lights go out in fact, and anything less will not satisfy the Queen B.


By James Pavel

“Monster” by Eminem and Rihanna will roar hourly on every pop radio station from now until probably late April. It is a painfully generic duet featuring a half-hearted, mailed-in chorus from Rihanna, and an annoyingly redundant, bitter, and whiny Eminem.

It is one of the lower points of Eminem’s artistic career and another blindingly glaring example of why Eminem needs to finally hang it up.

The Real Slim Shady died after the release of The Eminem Show and has only appeared as a ghost of his former self over his past four albums. Slim Shady is a washed up rapper who now relies completely on pop fans and pop radio to keep him relevant.

When Eminem was in his prime, he had two verses from the track “Til’ I Collapse” that went: “Til’ I collapse I’m spilling these raps as long as you feel ‘em,”and “So while you’re in it try to get as much shit as you can, and when your run is over just admit when it’s at its end.” Why can’t he exercise some humility and heed to his own advice?

Slim is unquestionably one of the most successful artists of the past 20 years and is likely one of the top five hip-hop artists ever. His first three albums are all classic, a feat few others can declare. He has been able to relate to millions by embracing his trailer-park roots and sharing tales of his whirlwind childhood many before him never had the ability to unravel into such epic poetry.

The climax of Marshall Mathers’ career was the 8 Mile soundtrack that contained the bombastic single, “Loose Yourself.” The song was a blazing semi-truck containing all of the violent emphasis and intense momentum stemming from the carnaged venom felt throughout the first three masterpieces (Slim Shady LP, Marshall Mathers, The Eminem Show.) It was Survivor’s “Eye of the Tiger” meets Tupac’s “Hit em’ Up.” Such velocity. Such brilliance. And then came the album, Encore.

Encore showcased Slim at his most childish and silly. He had returned to his filthy drug habits. He sounded desperate for a first single to market the album. Worst of all, he had adopted a half-baked East-Indian accent on a third of the tracks, a change to the usual Eminem program that even die-hard fans had difficulty accepting. Encore was the beginning of the end. And this was in 2004.

Slim has now released three more albums, all of poor standing when compared with the original trio. His previously fluid and empathetic tirades regarding his mother and on/off wife Kim were once honest and ripe with emotion. But he now sounds like a hypocritical schizophrenic. His emotional mood swings through hist latest material has fans unsure of whether they are supposed to forgive, forget, embrace or hate Eminem’s mother and wife/ex-wife/fiancee/soon-to-be-ex-wife etc.

Eminem isn’t just past his prime. He has driven so far past his original peak that he has practically discovered a new persona dedicated strictly to mediocrity. The Real Slim Shady needs to retire before his original material becomes so concealed in dust that it becomes forgotten in place of his unmistakably weaker and weathered material.


By James Pavel 

 I blame it on Game of Thrones. Ever since I completed season three of this HBO masterpiece, my expectations for mid-evil, soldier/knight productions is sky-high. And due to this elevated sense of what holds an audiences breath when watching warriors do battle, this sequel dies an unworthy death. 

 What remains one of the most intriguing aspects of the 300 premise is the background of the GodKing, Xerxes. We do learn how he became Zeus-like, but then he is again left on the sidelines of a film that could desperately have used his seemingly impenetrable abilities. 

 It isn’t that Artemisia, played by Eva Green, isn’t captivating. It’s that her vengeance against Greece is  a trite storyline, despite its merit, and she is a character that although appears strong, is clearly beatable despite the odds. 

 When someone pays $15-$20 to see a film in 3-D, they expect everything. If 300 wants to leave out the most intriguing character, Xerxes, for a delayed installment then convert the show into a mini-series, not a full-length film. The movie obviously left the plot open for yet another unnecessary installment, a disappointing method to garner more undeserving cash from an audience that was once thrilled with the original and what we thought only installment, the first 300

 What remains the strongest aspect of the 300 idea is that an incredibly small fleet of Spartans went to battle against an entire army. The second movie is so dry on fresh ideas that one of their sub-plots completely replicates one of the original story lines. A father and son go to battle together, making one another glow with pride. One of them fall during battle, putting the survivor into a violent rage and motivating him to slaughter at an even more violent rate than before.

 The movie is average because the first one was extraordinary.

It’s another example of a production team failing to recognize that this film did not require a sequel. We will now suffer through yet another 300 film nobody asked for, and squabble about how nothing will ever touch the first edition. 


By James Pavel


20. Chances- The Strokes

 The fragile, sputtering sounds of an 1980’s synth helicopter make “Chances” a heavenly slice of angel cake off their most underrated album and in reality their third greatest accomplishment, Comedown machine.


19. Pumpin’ Blood – NONONO

 Blood is an essential ingredient for survival, and this track was an indispensable element to the diversity of the 2013 life stream. It made simultaneous whistling and dancing the must-do multi-task of the year and left an unmistakable euphoric feeling in the air.

18. Shot at the Night – The Killers

 “Shot at the Night” is a reflection piece dedicated to the years the band would pawn off their Cure and Joy Division records for the promise of ubiquity. The Killers literally existed in the shadow of fame from growing up in Vegas, so dreaming of appearing on billboards and filling theatres was akin to greeting the milk man and grabbing the morning newspaper to suburban folk.

17. Out of My League – Fitz and the Tantrums

 It was 2013’s rendition of Foster the People’s “Pumped up Kicks,” but with no secret references to school-shooting rampages and entirely about girls that most guys have no business talking to.

16. Alive – Empire of the Sun

 Some bands produce fire, but Empire of the Sun manufacture inferno. Their music has the combined energy of children trick-or-treating on Halloween and middle-aged women reactions at a Barry Manilow concert. “Alive” is a bombastic celebration, a grandiose thank-you for the ability to breathe in and out with no complications.

15. Closer – Tegan and Sara

They act as a megaphone for the sexually diverse across the globe, so before you dismiss the track as the twins selling out, can’t we agree that nobody shakes it better than your raging-queen brother on the d-floor? The Calgarian ladies refuse to settle for mediocrity and ensure that even if they are surrendering to popularity, they still do it with a feather in their hat.

14. Beautiful War- Kings of Leon

Drunken debauchery leading to a spirited break up was only the precursor for the best musical make-up sex a KOL fan could ask for. The four Southern hooligans can shred a guitar with the best, but are increasingly becoming a group that knows how to make a woman’s ticker skip two steps. Caleb Followill has the painful roar of a scorned lion, a man who we pray keeps screwing up just so we can hear him make amends on records like “Beautiful War.”

13. The Wire – Haim

 Who isn’t a sucker for an impromptu “hey!” in the peak of a chorus? Haim are three chicks that are all too easy to relate to. Although they dress like they raided their father’s wardrobe, they’re after your love and not your loot.

12. Roar – Katy Perry

She could have turned out like Britney Spears post K-Fed after her split from Russell Brand. She could have fallen off the face of the earth with a small fortune after “Kissed a Girl” finally exhausted international airwaves. But she has flown back like a preying eagle time and time again. “Roar” is girl power times a million, a woman’s dedication to redemption after a marriage gone awry. She hasn’t pranced around stage like a prostitute like Miley Cyrus. She hasn’t taken back her deadbeat boyfriend and increasingly veered towards gangster rap in favour of radio pop like Rihanna. Perry has churned out pop-purist perfection and 2013 will be known as the year that this tiger finally showed her royal stripes.

11. Trying to be Cool – Phoenix

 Never has being perceived as “cool” mattered so much in society. It took a group of outsiders from France to finally point out that there doesn’t seem to be any loftier objective than to be compared to sub-zero temperatures. There are enough synth keyboards on this track to sink David Bowie’s yacht, which is either as cool as a frost-bite or as lame as two-word acceptance speeches. Phoenix aren’t calling their group cool, only proclaiming to be involuntary subscribers to the obsession.

 10. Ribs – Lorde

 She is basically a child in an X-rated adult world who manages to make organic and natural ideas like “laughing til’ our ribs get sore” sound almost overwhelmingly comfortable. She captures alienation and loneliness in the simplest offerings and reminds us why we all wish we could go back to the innocent thoughts of our youth.

9. Valentine’s Day – David Bowie

 Who knew Ziggy had any gas left in the spaceship? Bowie has discovered his own version of normalcy over the years, but that doesn’t mean he still doesn’t regularly fantasize aloud about space or about mass murders. Valentine’s Day is not about you think it is, but I will allow you to determine exactly what Davey Boy is getting at. Bowie is an alien that has made a home on Earth and is arguably one of the top five legends that still resides above ground.

8. Get Lucky – Daft Punk

 Daft Punk’s “Random Access Memories” is average on its best day, no matter how many Pitchfork writers argue differently. It is only the resurrection of Pharrell Williams that gives reason to celebrate this disco-funk/dance fusion ensemble. Williams carved out the two singles of the summer that had women swingin’ their hips like cocaine was still poppin’ and sideburns were still sexy (I’m talking “Get Lucky” & “Blurred Lines”) and did it with a previous unknown level of class. They could have called the song “baby-making music” or “orgy orchestra” but no, they opted for the subtle and swanky, “Get Lucky.”

7. Afterlife – Arcade Fire

 If the soundtrack of “Drive” was allowed a song from the future, “Afterlife” is an almost guaranteed selection. Only the morbid Goths of Arcade Fire would sound jovial singing about a topic as unpredictably frightening as the afterlife. Arcade Fire have become celebrated engineers when it comes to inserting background vocals and extra chords, and never upsetting the balance they’ve managed to construct between perfection and nirvana.

6. Mirrors – Justin Timberlake

 Audiences have listened for decades about what he desired, what he craved and what he lusted over. Mirrors is a parade dedicated to solely to Jessica Biel with Justin playing news anchor and clinking his glass to make his grandest toast to his most precious feat. Audiences have listened intently to what Justin Timberlake has wanted in a woman for over a generation and “Mirrors” is the celebration of him finally discovering his treasure. This track is a Timberland-assisted swoon fest all in the name of Jessica Biel. The chorus is less a poppy hook and more modern-day wedding vowels, which would be a tiring ordeal for fans if it wasn’t anybody besides JT. Timberlake is simply one of the likable entertainers in history. He can act, he can dance, he can obviously sing and he can marry women that look like Jessica Biel.

5. Blurred Lines – Robin Thicke

 If JT brought sexy back, Robin Thicke stripped it naked and made it pole dance. It was obscenely about sex and yet Grandma and Grandpa could hum along to “Blurred Lines” and be none the wiser. People complain about the song being sexist, and for those individuals, welcome to a planet stuffed with sexist barn animals. Sexism will exist until strippers have Daddies to hug, so until Papa bear comes home every night, let’s celebrate those blurred lines. “I feel so lucky, you wanna hug me? What rhymes with hug me?” was a ridiculously brilliant line because it again demonstrated that it is often what is not seen or heard that keeps the mind racing with explicit ideas for days.

4. Black Skinhead – Kanye West

He’s the heavy-weight champion of pop and nobody is more aware than Kanye himself. Rap is bragging, chest pounding and showboating and nobody “likes” their own selfies more than Yeezy. Eminem dropped “Rap God” five years too late, but Kanye’s “ I am a God” is right on queue proving that no rapper is more prepared for an ascent to heaven than Jesus’ long-lost brother, Yeezus. Of course the only place he is “bound” for is hell, but while blessing us with his presence on Earth, he is definitely our Lord Savior. It’s yet another remarkable hip-hop album from the genre’s reigning king, with a single called “Black Skinhead” that sounds like the entrance music for a lion king entering the African jungle. It’s a provocative banger with mass appeal and one of Kanye’s most timeless-sounding masterpieces.

3. Worship You – Vampire Weekend

The Vampires are all grown up and adulthood has delivered spectacular material. “Worship You” is a return to Graceland for those who never got over Paul Simon, but also for those too young to recognized the frizzy-haired legend. They are unapologetic hipsters that rode the wave of hype they were baptized on and now lead the charge of new-wave rock to wherever they deem fit.

2. Hold on, We’re Going Home – Drake

 Drake isn’t a rapper nor is he an RnB singer, just like how this track isn’t pop or hip-hop. To take it a step further, Drake isn’t completely black nor is he completely white. We live in a generation of blurred lines, where nothing is a 100 per cent anything anymore. Drake is one of the most relatable characters in entertainment because like an enormous group of young listeners, he is a little bit of everything. What is actually important is that “Hold on, we’re going home” is one of the most sincere yet sophisticated pop songs of the past ten years. Drake isn’t just chasing the throne of Kanye West; he’s actively seeking a seamstress for measurements.

1. Do I Wanna Know? – Arctic Monkeys

Rock music hasn’t shifted Earth’s tectonic plates this drastically since The White Stripes’ “Icky Thump.” The music world is bashful and timid when it comes to admitting present greatness, but not the case with the Arctic Monkeys. They are effortlessly more rebellious than the Beatles, exude a consistent brilliance that Oasis has wet dreams over and have balls that Coldplay would have to order online to compare to.

 “Do I wanna Know?” is the dark intersections of the mind that partly wishes to know the unedited truth of a volatile relationship and yet debates whether this will help the pain subside or only shift it to overdrive. The song is loaded with the diary entries of a love-mad genius, and the vulnerability of a man all too familiar with the fragility of a woman’s feelings. Love is a drug that Turner has blissfully subscribed to and is now only attempting to conquer the ravishing side effects that include: second-guessing, excessive drinking, diminishing ego, regretful late-night phone calls etc. “Too busy being lost to find somebody new, do you ever think of calling after you’ve had a few?” is sufficient lyrical evidence to demonstrate why a rock n’ roll track reigns supreme in 2013.


By James Pavel

5. Knee Socks

It’s brandished in Queens of the Stone Age metallic armour, even featuring Josh Holmes singing backup vocals in the final minutes, and yet it’s become an essential and definitive Arctic Monkeys hit. The AM album is a catalogue of potential singles and one could argue that ‘Knee Socks’, could easily be substituted for ‘Snap out of it,’ ‘One for the Road,’ and even “I wanna be Yours,” as a mere top five is a great injustice to a band as extraordinary as the boys from Sheffield, England.

4. Love is a Laserquest

A rare song that is equally beautiful in its original format and as strictly an acoustic song, Turner seems to have the experience of a wise man reincarnated for centuries based on his personal reflections in this modern masterpiece.

3. 505

It’s the stunningly honest visions that these monkeys constantly paint that make them more than just your average apes. A woman lying on a bed with her hands between her thighs sounds dull and uninteresting until Turner remarks on the common position and suddenly its a pose capable of generating a million ideas.

2. Cornerstone

Not unlike seemingly every visionary English band to debut post-Beatles, The Monkeys are clearly influenced by the prose of Lennon and McCartney. But while Paul and John had to experiment with drugs to truly begin to enter the realm of weird, Alex Turner seems to be naturally, and beautifully, odd. His thoughts in “Cornerstone” are breathtakingly original and as honest as a man taking an oath.

1. Do I Wanna Know?

Rock music hasn’t shifted Earth’s tectonic plates this drastically since The White Stripes’ “Icky Thump.” The music world is bashful and timid when it comes to admitting present greatness, but not the case with the Arctic Monkeys. They are effortlessly more rebellious than the Beatles, more naturally brilliant than Oasis and brasher than Coldplay, who would have to order steel balls online to ever compare to the fantastic audacity the Monkeys possess.

 ‘Do I wanna know?’ is the dark intersections of the mind that partly wishes to know the unedited truth of a volatile relationship and yet debates whether this will help the pain subside or only shift it to overdrive. The song is loaded with the diary entries of a love-mad genius, and the vulnerability of a man all too familiar with the fragility of a woman’s feelings. Love is a drug that Turner has blissfully subscribed to and is now only attempting to conquer the ravishing side effects that include: second-guessing, excessive drinking, diminishing ego, regretful late-night phone calls etc. “Too busy being lost to find somebody new, do you ever think of calling after you’ve had a few?” is sufficient lyrical evidence to demonstrate why a rock n’ roll track reigns supreme in 2013.


By James Pavel

I want to fall out of love with my cellphone.

For years I have starred at my cellphone blankly. For years I have impatiently awaited its flicker like a signal from a nearby ship. For years I have allowed it to rob my attention at a whim’s notice.

I can’t completely focus on others because my cellphone demands my recognition. I can’t fall asleep because my cellphone isn’t done talking.

I can’t wake up until my cellphone vibrates beside me. I can’t start dreaming until my cellphone stops blinking.

I can’t make you laugh without the letters that my cellphone provides me. I can’t show my joy without the emoticons that my cellphone can illustrate.

I can’t see in the dark without the eyes of my cellphone. I can’t feel fully clothed without the texture of my cellphone.

I can’t leave my house without my cellphone. I can’t travel without my cellphone.

I want to feel whole without my cellphone. I want you to laugh in my face, and not through my cellphone. I want to disappear without my cellphone.

I want to fall out of love with my cellphone.