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It seems as if the experience that came with the concert makes Kozelek’s desire to see his friend wane, and he sarcastically remarks on the excercise and effort Mark had to do to fit in with the crowds, it’s ironic as it seems the only reason he went to the concert was to see Gibbard.

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As a change from the quiet, small performance Gibbard did all those years ago, Mark observes as a seemingly more energetic Ben performs at the William Randolph Hearst Greek Theatre in Berkeley.

http://www.youtube.com/watch?v=0wrsZog8qXg

This song deals with the throes of middle age, and here, Kozelek expresses it through his body; while Gibbard is able to dance onstage, Kozelek can’t even stand in the crowd without aching.

This could also be commentary on the progressive culture of live music or media itself; Kozelek may be shaking his head at the mobs of drunk kids who, in an age of overstimulation thanks to cellphones and computers, need to be entertained with over-the-top stage presence. Kozelek yearns to return to the peace of that nameless man performing in Spain all those years ago.

He met Ben when Ben was on a side stage. Now, 14 years later, Ben is spry and in his prime playing a large show in a large venue, while all Mark can think about is that he’s been standing for a few hours and his legs hurt. He’s an old man now, and this isn’t for him anymore. That’s why he just goes home.

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Seemingly instead of enjoying the music provided courtesy of the band, Mark reminisces on the time him and Ben met, in an unnamed music festival in Spain. It’s possible Gibbard was playing as a part of Death Cab For Cutie or performing solo work.

Regardless, that was a time where Gibbard was on the small stage, not a crowded eight-thousand sized gig. A lot there is no real opinionated language used to describe the performance, it is dramatically impied that Mark enjoyed that more due to the lack of negative forshadowing and crowd.

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Unreviewed Annotation 1 Contributor ?

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A further comment on the pursuit to see his friend negatively outweighing his preference of the friend himeself, he justs wants to see his comerade without bustling through the hoards of drunk teens.

The mention of Kozelek staring at the cells of the teenagers, acts to further emphasise the perceived generational gap between the crowd and Kozelek.

He’s there to see the act perform and the kids are checking their texts, FB, etc. For him it’s about the music, for them it’s the scene.

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And so we discover that the titular “Ben” is none other than Ben Gibbard, best known for his work in Death Cab For Cutie and The Postal Service, Gibbard has frequently collaborated with other musicians, including Kozelek: Gibbard contributed to Sun Kil Moon’s third album: April.

In February 2013, the Postal Service announced they would officially reunite for an extended world tour; it was during this reunion tour when the events of this song took place.

Saying these words brings a sort of solace to Mark’s tone lyrically, in previous lines he stresses the commodities of “sports bar shit” and “worry[ing] to death” about his mother, but he describes Ben as a friend, a pleasant turn in the song.

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Panera Bread is a chain of cafés.

It is generally considered cozy and makes any excuse to give you some of their signiture bread with your meal, they also one of the largest providers of free Wi-Fi in the United States.

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He discovers his sister has a new partner, he could appear masculine and burly due to his profession of hunting animals.

We also see that she conforms to meet his needs by getting used to venison, the meat of a game animal, especially a deer, she wants it to work with this guy so takes interest in his profession. Perhaps this is mentioned in the song as she might have previously been a vegetarian, making this act of commitment even more bizarre.

This line could also be one of the many allusions to folk-pop and indie rock bands throughout the record and be name dropping Deerhunter, the acclaimed Atlanta indie/experimental outfit led by the unconventional Bradford Cox.

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Rumours courtesy of Pitchfork.

Q-Tip’s slick rapping and production skills led a jazz-based hip-hop revolution during the ‘90s, as head of A Tribe Called Quest, he is now signed to Kanye’s GOOD Music label. Q has previously colloborated with West on several occasions, most notably on the recent Thank You with Busta Rhymes.

Rick Rubin was a white NYU student who revolutionizes hip-hop and finds a second life resurrecting legends, he contributed heavily to Yeezus.

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Hold My Liquor’s story goes as follows: Kanye awakes from coma and exploits his own sensitivity and bizareness by calling out his loneliness and doing so over some mournful guitar loops.

Guilt Trip’s however muses on romantic disfunction and the art of letting go courtesy of some sob-enducing Kid Cudi warbling.

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Kanye fired the most bizzare and hilarious out of place line of the year in I Am a God:

Hurry up with my damn croissants"

In doing so, Kanye assured himself a lifetime of hastily prepared baked goods. This is the greatest hate-rap screed by a deity with dangerously low blood sugar in ages. Rolling Stone points out.

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