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Anyone from the amazonian Serena Williams to a lean, little petite like Lil Kim have something to offer the male perspective.

But Chromeo omits an essential angle: what do men have to offer women?

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Rather than stating the grass is greener everywhere other than where you’re at, Chromeo lead singer David Macklovitch takes an alternative view, stating that everywhere you look you’ll be able to find something worth your while. Playing off the tennis court “green” meme as mowed-over bush, or as a performative space for shit about money and whiteness and femininity–“white women,” in other words. Seen in roughly contemporary lyric writing by Lorde, friends-of-Chromeo Vampy Weeks, Noah Baumbach (“I’d like to fuck her on the tennis court, if you get my meaning”). And Moliere, per Dave 1’s French lit PhD, or something.

Not unlike the new MGMT, viewing the world as one’s oyster to be harvested is an optimistic view – every girl’s got something to offer, cf. Heems, “WOMYN,” or the O'Kaysons “Girl Watcher”:


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Unreviewed Annotation 1 Contributor ?

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Themes of honesty are prevalent on the album; it’s implied throughout that Kinsella’s lover doesn’t trust him.

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Unreviewed Annotation 1 Contributor ?

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A motif of American Football’s self-titled album is the borrowing of a song’s last line to serve as the song’s title. This can be seen on Never Meant, I’ll See You When We’re Both Not So Emotional, Stay Home , For Sure, and But The Regrets Are Killing Me.

This is especially indicative of vocalist Mike Kinsella’s straightforward and lax style of prose, which starkly contrasts to his brother and fellow Chicago emo pioneer Tim Kinsella’s florid, and at times absurd lyrics.

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There has been no one alleged prophet in the history of the world that has been universally accepted; Christianity is the closest, accounting for 1/3 of the world’s belief system.

Moreover many of the promises made by those “prophets” who have come and gone over the millennia have failed to actualize, leading many (MGMT included) to be skeptical of any one overseeing deity.

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Vocalist Andrew VanWyngarden alludes to three different, yet ultimately interwoven entities. Seeing as MGMT are no strangers to celestial imagery, the “glowing in the shadows” most likely refers to the stars in space.

The second line refers to the human mind. Confused for most of its life, the mind spends its days working towards the end goal of discerning its origin. This is obviously a self-reference to the song’s title.

The third refers to a broad category conscious, yet self-unaware beings – most likely some sort of farm animals. These animals' sole interest is surviving and reproducing; not contemplating any of the pillars of philosophy.

While different, VanWyngarden implies that the three entities are part of a collective consciousness.

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How can one, in good conscious, find happiness or freedom knowing that you can never achieve freedom comparable to that of a drifting, inanimate object such as a kite?

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Freedom, especially given the connotation that many Americans project onto the word, is often a misrepresentation of one’s own free will. If humans are born into imprisoning social constructs (go to school, get a 9-5 job, structure recreational activities to retain some sanity) set in place by their progenitors, then freedom must be actively sought after, not blindly accepted as regional or national trait.

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