Understanding Call Me Maybe
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- เผยแพร่เมื่อ 28 ก.ย. 2024
- Ha! Now that song's stuck in your head.
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About a decade ago, Carly Rae Jepsen's career exploded. She went from being a reasonably successful artist on Canadian radio to an international superstar practically overnight, all thanks to one lucky break. After the lead single for her sophomore album happened to catch the attention of another Canadian pop star, the world immediately fell in love with it, setting her on a journey that would see her local hit become an international sensation. But what makes it so dang catchy?
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Some additional thoughts/corrections:
1) I've seen the thing I've described as popping tones called "free notes", but that's boring and it's also not widely used anyway, so why not just make up my own name? Not that I did that. Totally real music theory term, I promise. I would never lie about music theory terminology.
2) To clarify, when I said "we're in a key that contains B, but isn't very likely to use it as the focus of its melody," I meant in reference to the bass part. My point there is that G, the key laid out by the static line, _is_ likely to pull a melodic emphasis on B, and is thus a better key to read the melody in. Dunno if that came across.
3) I didn't want to get too deep into this in the video 'cause it wasn't the point, but for what it's worth, I suspect the rise if hybrid tonality in modern popular music is likely due to influences from hip-hop and EDM, both styles that decenter strong keys and frequently take more abstract approaches to their tonal vocabulary.
4) I should mention that, for most of the verse phrases, you could also read the accents as falling on the second, fourth, and seventh syllables, rather than first, fourth, and seventh. ("I _threw_ a _wish_ in the _well"_ instead of _"I_ threw a _wish_ in the _well."_ ) That makes sense written down, but listening to her delivery, it doesn't sound like the correct parsing to me. Still, your mileage may vary.
5) The demo at the end, where I lined up the guitar line with the vocal melody, suffers a bit from the fact that all three guitar layers are mixed together on the same track, so I can't avoid also changing the note pattern on the riff behind it. I don't view this as a big deal, and I still think it sounds significantly better, but I wanted to acknowledge the limitation.
Popping tones is probably more appropriate, especially when you are talking Canadian music, especially with relation to Canadian fiddling. This might also provide an answer to your mystery in that there is the concept of spooling that appears in Canadian dancing that can appear in phrasing. You don't trudge on towards a climax, keeping all your elements to that build up, but you drop off so that you can rise higher to the next, higher climax.
Hey, did you switch mics around 11:42? Your voice changes quality subtlely, somehow.
Hmmm. I've always thought this was just a simple pop song, but you gave me a new appreciation for how complex it really is!
I'm gonna go listen to it carefully after watching your video...
putting the guitar line back in the end chorus would complete the emotional lift but this isn't a completed emotion, only a completed action. she's given him her number but the story isn't over, as we don't know if he will actually call. So mission accomplished but not completed, she's left with the glow of that success without the closure of them actually getting together.
@@richardfox668nice speculation!
This isn't just a pop song. It's THE pop song. Growing up if you asked me what the most genre-defining pop song of all time is, I would answer with "Call me maybe," and that's still my answer today. It perfectly tows the line between simple enough to get stuck in your head and complex enough to never grow old and be forgotten. If I met someone who had never heard a pop song before, this is the first thing I'd play for them as THE example of what pop music is.
I think it's on the same tier as ABBA's dancing queen
@@julielappano4531and ABBA's Gimme Gimme Gimme
Agreed!
Not quite abba level in the level of musicality in my opinion, but pretty close!
I'd play them "What does the Fox Say?" immediately after. It would be the equivalent of showing them "the definitive documentary" (probably something with Attenborough) and then "This is Spinal Tap" immediately after.
This song and "Toxic" by Britney Spears really demonstrate that you can make complex Pop music that's still easy to listen to and catchy as hell.
YES. Call Me Maybe and Toxic are two of the most legendary pop songs ever, instant classics that are surely still gonna last for a very long time
both bangers absolutely.
This is some thing I genuinely take issue with when people make, and have made for decades, broad sweeping accusations that all pop music is bad, when we have clear examples of genuine, creative people making music in a pop style that is absolutely generation, defining, and stands the test of time. Whether it's created by some background force and performed by known person, or it's performed and written by an individual by themselves, it doesn't matter the pop genre in itself is no different from any other genre. It's just the one currently co-opted by corporations, which almost every genre has faced in the past
This song? This song ain't complex at all. I love it, but it's really not
I think this explains why I instantly clicked with Japanese 80s city pop, because this is the default, rather than the exception.
In defense of not using the guitar line: the guitar line and the post chorus are actually the high point of the song. The post chorus actually represents her happiness of finding something she never knew she was missing. This recontextualizes the final chorus into the fun excitement that she's having now that she finds herself complete. Adding that guitar part here would take away from its impact on the post chorus. The post chorus is the exploding balloon; the final chorus is the confetti inside- lighter but made meaningful by what caused it.
Moreover, it just sounds bad over the chorus. The chorus needs the space between the staccato notes to capture the energy. The legato guitar line works counter to that energy.
Just posted the same thing. On a dance floor, the post chorus is where everyone starts jumping. It's the peak, for sure.
Totally agree, the guitar is nice but feels like fall/wistful/nostalgic and even on top of that it feels old, like something that would be on a soundtrack or montage. Not wrong, but not fresh
I feel like the simplest explanation for not including the guitar line is that it would just be too much and would clutter up the arrangement. given that the whole song (other than said guitar line) is instrumentally based on just two themes, i think it's fair to assume the producer was aiming for potency through economy
@@somniloquous0I agree. I think the guitar would make it sound cluttered.
Wow! All this deep, insightful "analysis" with doodles too!
It wasn't until you separated out the various instrument lines that I actually noticed how intricate they get in this song. I've always thought of it as sort of a guilty pleasure, but I'm finding a new appreciation for it. It's better than I've ever given it credit for. Thanks!
@@ghost_mall heh, I never actually felt all that guilty :)
I know this channel mostly dissects the musical choices of songs, but I have always been impressed with CRJ's lyrics and the way that they subvert traditional pop music. The speaker always has the agency to pursue who she wants romantically in a way that yes, exists in pop music, but is not the norm. Classics such as "Run Away with Me" and "Call Me Maybe" all give CRJ the upper hand in the situation. A recurring theme throughout her entire catalogue is being confident enough to make the first move and speaking up for her own needs.
That's cool, I dont know much about her music, but I know she has very loyal fans
In every pop/rock song that has a string section, that string section carries the song. Call Me Maybe, Eleanor Rigby, Iris, Bittersweet Symphony, every single one just wouldn't work without the strings.
I wouldn't say *every*... but yeah it's done a lot. For some reason, even though you didn't mention it, the string part from viva la vida is stuck in my head now. lol.
I like the band version of tonight tonight better personally
Drops of Jupiter
Stop The Train ✋️
Come On Eileen
I mean, CMM is alright, but for CRJ's true masterpiece "Run Away With Me' is the hero that wins it. Jesus Christ, that song is so fucking good.
Everything on Emotion (both sides) is instant classic. Your Type or maybe Boy Problems is my favorite, cant decide
Run away with me is honestly one of the greatest pop songs of all time. The whole album is banger after banger
Emotion/side B and Dedicated/Side B are all excellent albums, and Cut to The Feeling is also spectacular. CRJ is a modern marvel.
Sungazer's arrangement of 'Run Away With Me' takes that song to a whole new level!
@@InventorZahran I love Adam Neely, but I really don't like that arrangement. The OG version of RAWM is perfect. It's one of those songs that should never be covered, because you won't better it (see also 'Another Girl Another Planet' by the Only Ones)
I love the instrumentalism of this song, that part being developed by fellow Canadian and Mariana's Trench singer, Josh Ramsay. I love Josh and his band, his blend of punk, pop, and in some cases softer metal works extremely well. Josh Ramsay is probably one of the most underrated musicians of our generation
Absolutely! Trencher for life :)
Agreed, and even he feels the weight of this song, as he says in Pop 101: "They say where's the next hit, baby? God, how could I top Call Me Maybe?"... His songwriting and arranging just blows my mind.
The idea that 12Tone may have just implied that Guitar String/Wedding Ring would have been a stronger single from that album amuses me in a way that very few things can achieve.
Call me maybe truly is pop gem! The chorus/post chorus are a work of art. The production and arrangement really help to show the emotions the song is trying to convey
SO CALL ME MAYBEE
Wow, great timing. 10 years ago, this track was always on the radio during 8th grade. Catchy beat. 🤙
Apparently it's timeless, I'm a teacher and a month ago it was all the rage in of my 8th grade classes
I find myself wondering if the new acceptance of poly-key ideas comes from the birth of sampling? So many of the geniuses to pioneer that worked solely by ear, so they'd find complimentary loops that work "well enough" and treat the interesting conflicts as sort of blue notes. It makes sense that, since our pop music foundation is so heavily influenced by that, it's become part of our vocabulary. I think it's great because it's artists building by sound and not necessarily by rule, even though the "rules" generally end up illustrating and shaping the process as well.
I obviously can't speak for others, but my process is very much based on what I think would sound good. I mostly use the rules as a good source of inspiration, not a code to live by.
@@MalloonTarka I think that's awesome. I feel sampling has offered a way to return to thinking within sound, which is opening so many doors for artists such as yourself simply because the popular-music ear is expanding (again) to embrace new flavors. And it doesn't negate the rules at all because they exist to describe what's happening musically, not entrap us.
Yes! I think you're right. It is also probably related to the use of sequencers which let you pitch an entire chord up or down without changing it between major and minor.
I Feel Love worked in this way, a song which influenced the development of both EDM and Pop in the post electronic landscape.
There's a video out there that calls it Chord Planing but I can't remember who by.
@@amandacapsicum686 Oh thank you, I'll have a look for the video. I totally hear what you're saying, and even have a personal obsession with I Feel Love because of how "modern" it sounds. I hadn't put in into context with its influence so I have more digging to explore. Which is awesome. Thank you.
It almost feels like the ending empties out a bit, almost as if the intent were to leave you wanting more? Which for an earworm is kind of brilliant.
I wonder if the climax chorus section was left intentionally smaller in order to end the song leaving the listener wanting for more? If the song had a perfect dynamic cycle, it would have felt more complete at the end. However, with leaving just a little bit of potential energy out, it makes the listener feel like there's more to the story. Maybe you continue listening to the album? Maybe you hit repeat? Maybe it's stuck in your head for the next 68 hours?
I think you might be on to something there. I've been paying attention to the songs that get stuck in my head and it's not the ones that I've learned/memorized/internalized, it's songs that the music parts of my brain are working on, like I don't know all the lyrics or there's a tricky melody, or something like that. Maybe not bringing to the logical conclusion induces your brain to keep coming back to try to work it out.
@@rmdodsonbillsooooo I like the conclusion you guys have come to! I'll have to keep an eye out as well, that's curious. I wonder if any musicologists or psychologists have ever written on similar points?
Underrated, Carly has multiple bangers on every album
Carly Rae Jepsen is so underrated, absolutely my favorite pop singer.
the fact i listened to this 2 days ago for the first time in YEARS and then this video comes out is scary to say the least
Carl Jung’s concept of synchronicity :)
@@ocean_0602 THAT SOUNDS COOL IM GONNA RESEARCH IT NOW
The Algorithm knows
You threw it out very briefly and casually, but I was struck when you said, "For me, the goal of analysis isn't to get inside the artist's head, it's to get inside a listener's." It's a cool thought that wasn't ever really posed to me in any of my music classes, but it makes a lot of sense. After all, as much as you want to understand how a piece of art was made, it's just as important if not more so to understand what makes it have an effect on the audience.
Is nobody going to talk about the chimera ("combination") at 6:06? I almost started crying... again!
Call Me Maybe was so prevalent on Canadian radio stations in the summer of 2012 that to this day there are people who initially liked the song who wish to never hear it again.
Let's call that the "Last Christmas effect".
That subtle reference to FMA is crushing it all.
Okay, that FMA chimera was completely unnecessary and absolutely perfect.
I’ve always loved Call Me Maybe, but this video gave me an even deeper appreciation for it! Very fun presentation style. Loved all the doodles!
In the venn diagram with one circle showing people who are into music theory and the other circle showing people that like the song Call Me Maybe the overlapping section is probably not that big so I think it was really interesting and brave that you decided to make a video about it anyway and that's exactly why I decided to watch it.
While I do think most musical ideas in this song are very tame you have to admit they're used very effectively and it made me think of the pixies a lot and how they use dynamic changes and simple motifs based on repetition, which is not a comparison I would've ever expected to make before watching this video.
I think the point at the end was to be a little disappointing, not every crush and longing is reciprocated, and the music video ties well into this point, she gets the excitement and nerves, goes out of her way, makes a fool out of herself and feels good doing so, but it didn't work out this time, and there's always another chance to try again another day or on another listen, I think this is one of the reasons why it's such an easy listen on loop song, I certainly did so for several weeks
It's awesome that you did a more recent pop song. A lot of people who do musical breakdowns tend to think that all the good music was made when they were kids and nothing since then has been worth listening to.
For the post-chorus guitar part, I have three main reasons. They are all based around the core dilemma of pop songs - how to have as much repetition as possible, but without making the song boring.
1. Avoiding noticeable repetition. In loop based music there is a rule of thumb that somewhere between the third and fifth loop people start noticing the repetition - and you have to change something. The exact moment depends on the phrase, genre, how audible the phrase is etc. When I was listening to your mock up, even my "producer intuition" kicked in with "this would get repetitive fast". Listening closer I think the phrase is repeated 4 times verbatim during the post-chorus, so repeating it four more times in the following chorus and four more times during the second post would make it overstay its welcome. Removing it from chorus solves this easily.
2. Audibility of the phrase. An interesting thing about this guitar phrase is that it isn't all that audible - the tail end of it sinks below the "so bad" in the vocal and we clearly hear only the soaring high notes at the start. Guitar and vocal fighting for attention is a pretty cool effect on its own in such an emotionally charged moment, but it also has the side effect of hiding the repetitiveness of the guitar section. Now with regular chorus lyrics being rather sparse, less intensive and lower in pitch, this wouldn't happen, the phrase would be audible as a whole and its repetitiveness would be more noticeable. I guess they would have to rework it for that context and with song coming for the final chorus they didn't want to introduce new melodic material.
3. Identity of the section. Until you've pointed it out I didn't even notice the post-chorus was based on arrangement of the chorus, just with new vocal melody and a guitar part. I thought of this section as of a genuine bridge. But I feel like playing the guitar part also throughout the final chorus would've given the trick away, making it more noticeable that this is the chorus in disguise and making it all feel more repetitive.
Purely as a listener, the post-chorus without the guitar felt like she'd been working herself up and rehearsing and that post-chorus felt like where she actually said it.
6:05 the drawing for the word “combine” made me shiver… nice reference
That Sheik drawing was perfect!
There's a Mashup of the backing track of "Call Me Maybe" with the vocal track of NIN "Head like a hole." (They called it "Call me a hole.")
The only thing more insane then the fact this Mashup exists is the fact that it works.
Ashley O - "On a roll" strike your fancy too?
The only thing more insane than the fact that it works, is the fact that it works... for karaoke!
As far as why she didnt include the guitar in the final chorus, I think it's representative of what she "missed" before theyre together. The chorus obviously is from the perspective of just as she approaches him while the post chorus is after they are together reflecting on before. She specifically says "before you came into my life I missed you so bad", and if you enterpret the guitar part as their deeper emotional connection then it only follows that the part would be missing when she first goes to approach him. The guitar part is literally missing from her life until after she's gotten to know him.
Reason 4 : they just wanted to repeat the same same thing to really burn it in our head for the rest of our live. God I hate/love it !
I remember going on some field trip and hearing a bunch of my friends singing this at the top of their lungs while marching down the hotel hallway after I woke up. I hope I never forget this.
imo (iirc) this song, Teenage Dream and Digital Love all create a thematically-relevant sense of longing by mostly avoiding unambiguously resolving to the tonic chord
I've never had an earworm worse than this one! The chorus was literally stuck in my head for an entire summer and it was nothing short of pure torture.
What’s pretty satisfying is that the music video’s resolution goes along with the lack of guitar in the chorus! When Carly finds out her new infatuation is never going to feel back for her, I feel like she looses that longing. Just a theory on my part though
I’m so glad you analyzed this song, because it gives me (and it looks like several other fans) such a brilliant segue to calling for you to breakdown some of Marianas Trench’s greatest hits and albums. Josh Ramsay the Lead Singer and Frontman of that band co-wrote this song, and their albums (several of which are seamless transitions from start to finish) listen more like an opera or a musical theater soundtrack than individual songs and I’ve longed for a greater deep-dive into their music for a very long time. If I had one wish it would be to see a staggering majority of their music broken down and analyzed on this channel, but that would admittedly be quite an undertaking. I would absolutely settle for several deep dives on albums or pieces that tie into the others. There’s a lot of iteration on older music as they made more which is always fascinating to get to see; an artist revisiting their works and reimagining them under new circumstances with new themes to emphasize.
Time to break out my CRJ CD. Stop judging me
one of the GREATEST pop songs of all time
I have the instrumental of this music on my ipod and I can say it's annoyingly easy to get stuck in it for hours in a loop... thanks
6:08 "combined" don't remind me... the fact you sneaked that there lmfao (iykyk)
5:18 I hear that as Eb7 with an added or suspended 9, which sounds perfectly consonant.
Lol the picture for "combining" things...... I choked 😂 and the Aphrodite heart for "weak", I see you
I usually just listen to your videos, but just realised from watching this one how much of an anime/manga and gamer you are too. That's cool 😏
THE CHORUS OF THE CHORUS
You know, this was so interesting I wanted to share it with my friend Nina, but she disappeared around 6:07... She's probably fine though, she's got her dog Alexander with her
I can't hear this song without thinking about the mashup of it and Head Like A Hole
I'm neither hesitance nor excitement, but a secret third thing
Damn it. I have to go listen to it a bunch of times now.
Great analysis.
I was missing somethong important - this song is obviously meant to be enjoyed at 2x speed (not necessarily meant by its producers, but definitely meant by providence).
I think an analysis on 2x would be a great follow-up
while we’re here talking about iconic pop songs, I would loooove to hear your analysis of “Crazy in Love”
The hybrid tonality really explains why I (a bassist) keep disagreeing with my band on the key of a song
CRJ has like two dozen absolutely perfect pop songs in her catalogue...at least that many!
Hey, love your channel. Wondering if you'd ever do a John Mayer song? He's got some interesting harmony snuck into a lot of his songs. Cheers!
My explanation for the missing guitar isn't so much musical but more about the meaning of the song. I think it's meant more to break the dynamic of the song and restart it - over time we're attracted to many people and it doesn't work out with all of them, so this part signifies that this "process" can very much be restarted and repeated rather than a once in a lifetime love at first sight thing
How do you know you've fallen too deep into analysis videos? You watch one about a song you've just barely managed to get away from. The ear worm is back.
Kinda unrelated, but my handwriting is really bad. So I think it’s really impressive he’s able to draw these little cartoons and images with a sharpie all on one paper without messing up. My shaky ass hands can barely write my own name and keep it legible
I just re-listened to the song and I think I understand what you are saying about the chorus at the end. But…I think if you add the extra instruments on that last chorus, the ending of the song-which is already very abrupt-would leave you feeling like you were in a car crash. I think the effect of the way it ends in the original recording, the listener is in kind of a daydream, what would happen if I just gave my number to this complete stranger. The abrupt end is when you snap out of the daydream. I don’t think the second chorus was supposed to crescendo the way you wanted it to. Daydreams don’t crescendo, they just sort of take you away for you know, 3 mins 13 seconds or so and then fizzle out.
You can't just drop that FMA reference without warning omfg
I believe that the guitar part is not demonstrating a sense of longing, but something new to add in her life at the end of her confessing that she needs to work on. After all, you may get along, but you also need to work on building your relationship with someone. The guitar in the post-chorus is too different from the rest of the song with the slight overdrive to show that this is something she never had in her life before like in the song.
In conclusion, she gets the boy with the guitar that still needs to be refined like her relationship. The lyrics even say “Before you came into my life…” meaning that he is now a part of her life.
10:27 Paraphrased: the texture drop may seem like it would be weak... but it's a beat drop!
And the line before the drop [my addition] could be read as a riser!
Finally asking the real questions
I love that earworm is in the English language now
6:06 OMFG
This song won't be stuck, since I have six other albums' worth of songs to choose from. (With an eighth on the way!) But this was a very enjoyable dive into the history of The Song. :)
Queen Carly, why you made my childhood back again?
It's a shame she didn't become a big star after this song because she's really developed a lot as an artist since then. It's like if David Bowie became mostly only known for "Space Oddity" but still did Ziggy Stardust and Aladdin Sane. And, yes, I did compare Emotion to Ziggy Stardust, because it is that good.
the opening of this song always reminds me of a track from Zelda Skyward Sword... 😮
the version stuck in my head is the PMJ version. Von really sold that song.
To me, the song with the post chorus feels like she’s daydreaming, imagining theyre getting married or something, and then we snap back to reality. Thats why the chorus returns to normal.
Josh Ramsey is a songwriting god on the same level as Prince. Cmon and fight me
Take a look at Mikey Bustos. He's a Canadian Filipino that does parodies of famous songs
Thank you again for your work, making me realize i should not judge too fast a song. Big catchy pop hit is not necessarly bad boring sh*tty composing.
5:48 Different instruments in a song can also exist in multiple keys at the same time WITH obvious contradictions-that’s just the blues.
GOAT CHANNEL
I had forgotten about that scene in F.M.A.........
At 6:08, i see what you did there, awesome 😂😂😂
The strings always kinda scared me
the full metal alchemist reference was out of pocket
They're talking to each other, but two aren't listening just like when you meet someone new lol
Hey Man I gotta ask, when are you doing wolfmother- joker and the thief, I gotta hear that yarn
Not my main type of music, but here would be my explanation for the lack of the "longing" guitar line. The "longing" , the love is to a degree hidden in the background. That may be where the narrator hopes to get, and may be where they end up. But that's not where the narrator is *now*. Right now, in the timeline of the song, it's bubbly, flirty lust.
Between the frantic synth, high energy guitar static line, and punctuated strings, this is a bold tune. It's balanced by the vocals, but it also goes well against the heavy vocals of Trent Reznor in Pomdeter's infamous mashup. CMM was produced by Dave Ogilvie, who has a history with NIN, Marilyn Manson, KMFDM and others. It's why this song has a hint of excited aggression and caught us all by surprise. th-cam.com/video/1lkuDm_g2ig/w-d-xo.html
It's ok, I'll clear the original version from My head by watching the best cover of this song, A METAL COVER!!!!!
You bastard! You just HAD to bring Nina Tucker into this, didn’t you?
Could you analysis a mash up song?
At this point, I'm prepared to say hybrid tonality seems to be the rule more than the exception when it come to modern pop music
When I think of putting to words the Je ne sais quoi of enjoying certain music, I think of you. I'm a Nebula subscriber, and would you mind if I respectfully pitch you a video idea?
Media has influenced our perception of orchestral instruments and music to the point that a movie score no longer needs a movie.
It's just as common to listen to Swan Lake while studying as listening to The Shape of Water's score while studying. But when I try to tell people that my favorite genre of music right now is orchestral movie/game score *style* music such as Eternal Eclipse, they automatically ask "What movie?" I think it's hard for people to picture why an artist would compose something that *sounds* like a movie score without being paid by Hollywood™ or even *how* one would compose it without having the movie first. Even if they jump past that, now you're stuck imagining why someone would listen to something movie score-esque without a preestablished emotional connection to the movie.
"Say "orchestral" and people hear in their mind Tchaikovsky and Wagner. Say "Concerto," people look at you funny. But back in the era of classical music (and by "Classical" I mean "Baroque"), if you watch enough ballets and operas, by 1723 The Four Seasons is like "Hell Yeah!" Nowadays, if you engage with enough movies and games, by 2023 Fate of the Clockmaker is like "*Hell* yeah!"
Eternal Eclipse has the same *umph!* as Vivaldi. (Ooh there's your video title!)
The accentuation difference between the strings and vocal line in the verse wouldn't be polyrhythmic, but polymetric, right?
This has me wanting to go on and compare the original vs Andy Rehfeldt's metal arrangement (with the original vocals).
Still waiting for Understanding Coloratura. I know it's a newer song but still, it's unique.
Analyze the DMX mashup version!
After the first verse, the original lines stop sounding pensive and start sounding sneaking around like a stalker XD
If you were to take apart any Marianas Trench song from Everafter and on, you would see Josh Ramsey's fingerprints all over Call me Maybe.
Want analysis of "Twilight Cafe" please.
But there's still one part I don't understand, where it gets quiet and everything else goes away and then a talking pizza roll comes out of the radio and tells you to kill your wife
I’d love it if you deconstructed River by Miley Cyrus and Bittersweet Symphony
So when are you going to release a banger?
Hey, i just met you and this is crazy.
Here's my labyrinth.
I stole your baby.
Music Theory... Music Theory... Music Theory... Music Theory... Music Theory... Music Theory... yeah, yeah, yeah....
.... all I see is a cute little girl porcupine singing the chorus and doing some dance moves in front of a koala.