Counting Crows-Big Yellow Taxi(up 4 positions)
Counting Crows' version of Joni Mitchell's Big Yellow Taxi was originally on the Two Weeks Notice soundtrack and wasn't on early pressings of the Hard Candy CD but it's now Counting Crows' biggest pop hit since Long December. There's something ridiculous about Counting Crows doing Mitchell's delightfully buoyant hit. Mitchell's vocal was light and playful and helped Mitchell's complaint about crass money grubbing ruining natural beauty go down easily. Adam Duritz can't help but sing in a mannered, self satisfied way. He's more relaxed than usual on Big Yellow Taxi but he's hardly as charming as Mitchell. The original's slightly subversive vivacity is replaced by smooth professionalism. Duritz shifts the focus from paving paradise to the lover's departure that led Mitchell to whimsically muse about how "you don't know what you've got 'til it's gone." The new version has a spare, pleasant sound and a crisp beat. Vanessa Carlton's brief ooh bop bop bops go a long way in softening the stiff feel Duritz creates. And you can't go too wrong with a song with that still has that great line about putting trees in a tree museum. But I really don't see the need for a smooth, string filled muzaky version of a classic.
All-American Rejects-Swing Swing(down 2 positions)
The All-American Rejects are a young band from Stillwater, Oklahoma who fit somewhere within the emo genre. They share a love of a big, basic, upbeat, enthusiastic sound with Jimmy Eat World and other emo practitioners. Swing Swings mix of crunching guitars and shaggy goofiness brings to mind emo predecessors and godfathers Weezer. The way it adds cheesy keyboards to glossy guitar rock recalls an earlier generation of bands like Cheap Trick and Split Enz. Swing Swing is a good time, easily shifting musical focus from a jagged guitar riff to the keyboards to a good bass line. Tyson Ritter is appealingly earnest as he intensely yells. On Swing Swing, Ritter admits being devastated by a breakup but puts on a brave face, promising to find someone new.
T.A.T.U.-All The Things She Said(down 2 positions)
A lot of contemporary European music is garbage. People on the continent seem to love music that takes 70s disco and makes it even more glossy and superficial. However, All The Things She Said reminds me of how, after listening to American pop carefully produced to sound familiar, European music, with its love of big sounds, over the top dramatics and odd subjects, can be refreshing. All The Things She Said, from T.A.T.Us 200 Km/h In The Wrong Lane CD, with its big beat and power chords, cheesy synths and anguished vocals, is currently one of my favorite pop songs. The frantic emoting of Julia Volkova and Lena Katina, T.A.T.U.s young Russian singers(who are probably not real life lovers), effectively matches All The Things She Saids story of tortured lesbian attraction. All The Things She Said is packed with intense, passionate soap imagery of passion thats opened my eyes but made her feel totally lost and like shes lost my mind and crossed the line. It would be inaccurate to imply that All The Things She Said travelled, without alteration, from Russian dance clubs to American airwaves. All The Things She Said was polished by producer Trevor Horn who in his work with, among others, Frankie Goes To Hollywood, The Buggles and Yes, practically defined a flashy, dramatic early 80s dance rock sound. Either Horn is trapped in his production style of 20 years ago or he realized it would work well on All The Things She Said. Regardless, his retro sound helped create a very fun final product.
Justin Timberlake-Cry Me A River(down 6 positions)
On Just Like I Love You, the first single from the N Sync pretty boys Justified CD, Justin Timberlakes worked too hard to show his urban cred and ended up with a slavish, fairly lame Michael Jackson imitation. The more relaxed Cry Me A River works better and is actually soulful. The production lets polished studio singers take over for large portions and move the song forward smoothly. Cry Me A River has a relaxed pace and a fairly uncluttered sound but its also scuffed up a little by a stuttering beat and synths that trumpet and dissolve into a draggy dissonance. Timberlakes singing is pretty innocuous on the verses but things improve when the backup singers help him out and when he reaches for an impassioned falsetto. Cry Me A Rivers lyric plays out the fantasy of many who have been taken advantage by a romantic partner. Timberlake gets to tell the woman who left him all alone, but is asking for him again, that its her time to cry.
Eminem-Superman(down 2 positions)
Superman is the third hit from The Eminem Show CD. In 2002 Eminem had his two biggest pop hits so far, Without Me and Lose Yourself, songs where the raps were so fluid and the music had so much momentum that it almost seemed irrelevant whether Mr. Mathers is a screwed up, misogynist jerk. Superman isn't as appealing. It gives a listener a chance to remember what's annoying about Eminem. On Superman, Eminem offers glimpses of his fast, smooth rapping skills but it's largely bad jokes and a fairly uninteresting, unvaried backing track. Superman is mostly stupid and pointless. It's basically about how "I'll never let another girl bring me down" and how he's basically resigned to a life of one night stands with "tricks" he'll more likely than not dis once they're done. In a mock sensitive voice, Eminem goofs on the idea of a caring guy "here to save you girl" and grow together with her. In case you don't get the joke, he follows that with "bitch, you make me hurl." He also says "don't put out, I'll put you." Dina Rae plays the role of the object of Eminem's affection and hostility. As often is the case with Eminem, you have to choose between whether to like him as a gifted artist or despise him as a hateful person. Superman, unlike most of Eminem's music, isn't musically likable enough to let you overlook his deficiencies. I don't really understand why Superman was released as a single(and why the mediocre rock rap of Sing for The Moment is the next single) when The Eminem Show has so many good songs(I would vote for one of the Hailie songs). And why isn't the fun, loose title track from 8 Mile a single? The main appeal of Superman is the insight it gives into a messed up brain. If you believe the lyrics, Eminem's experiences have made him so fearful and paranoid that he's doomed to shallow, unsatisfying relationships.
Amanda Perez-Angel(up 3 positions)
Amanda Perez is a young Mexican American woman from Fort Wayne, Indiana. On Angel, the title track from Perez' breakthrough CD, Perez brings to mind Alicia Keys. Both are confident, idiosyncratic(Perez is pierced in many places) and largely in control of their music. Perez wrote the songs on Angel, coproduced the record and played most of the instruments. It's Perez playing Angel's piano. I'm not a huge fan of Angel. It's a pretty basic ballad. But I do admire its arrangement. With unshowy piano chords, a simple, minimal beat and well placed backing vocals, Angel has a good, uncluttered sound. The only flourish is a bit of vocal distortion which adds some texture. In this age where American Idol rewards intense, overemotive balladeers, it's good to hear Perez' controlled vocal. Angel was apparently inspired by the death of Perez' cousin. Angel is about grieving a loss. Perez asks God to send her an angel "to heal my broken heart from being in love." Perez sings that, even if he sometimes "took my love for granted", losing someone special has made her feel like she can't love anymore since "my heart can't take no more lies and my eyes are all out of cries."
Unwell is the second single from the More Than You Think You Are CD. It's an improvement over Disease, a lame attempt at a rocker and pale imitation of Smooth, Rob Thomas' Santana collaboration. Unwell has the soothing, easy, well crafted sound that helped make the band big. The chorus is catchy and hard to resist. But generally, Unwell is bland. It's so tastefully innocuous that it barely registers. A banjo in the beginning and end adds a little flavor but Unwell could use a lot more. It doesn't help that Unwell, like Disease, is another tale of how screwed up Thomas is. Especially now that Matchbox 20 is an established, very successful band, Thomas' repeated tales of woe are increasingly tiresome. Unwell is more optimistic than some of them. Thomas thinks "I'm headed for a breakdown and I don't know why" but he also feels like he'll soon get things together.
The Wallflowers-How Good It Can Get(unchanged)
I enjoyed When You're On Top, the first chart hit from the Red Letter Days CD, and its icy, synth dominated atmosphere and self loathing lyrics. How Good It Can Get is more standard Wallflowers fare. It's got a smooth, pleasant sound but it's nothing new. The lyrics are a nice message to a friend that things will get better. But How Good It Can Get is pretty insubstantial.
Nivea-Don't Mess With My Man(down 5 positions)
Don't Mess With My Man is from Nivea Hamilton's Nivea CD. Don't Mess With My Man is quite lightweight but it's also quite likable. Don't Mess With My Man features Jagged Edge's Brian and Brandon Casey. It's got the easy feel of Jagged Edge's Where The Party At and I find Don't Mess even more enjoyable. With a catchy doodle of a synth riff and a steady beat, Don't Mess With My Man goes by easily. Nivea's voice is pleaant but doesn't show much personality. The Caseys add a little flair with their amiably macho contribution. The lyrics don't go much beyond the title's threat except that the Caseys repeat them and change genders.
Beck-Lost Cause(up 3 positions)
Beck showed that hes not just a studio genius obsessed with beat and samples on Mutations, a record of serious country rock, but he still surprised people with the mellowness of his Sea Change CD. Theres a difference of opinion out there about whether the subdued Sea Change is a subtly beautiful tour de force or kind of a bore. Still, its hard for me to imagine much criticism of Lost Cause, Sea Changes strikingly delicate single. With acoustic guitar and quiet, dreamy synths and chimes, Beck simply creates a moving mood. Becks downbeat vocal communicates Lost Causes mix of sadness and frustration with a screwed up friend hes tired of fighting for but also finds hard to leave alone. Lost Cause also suggests a touch of hope in slightly optimistic chord changes. Lost Cause is a fragile, thoughtful masterpiece.
Dixie Chicks-Landslide(down 1 position)
I'm opposed to our military being led into a war, with very little international support, against a country that hardly seems to pose an imminent threat, where the result was bound to be some American military deaths, a huge number of Iraqi civilian deaths and a heightened anti-U.S.A. sentiment and terrorism risk. So after years of indifference, I guess I've become some sort of Dixie Chicks fan after seeing the beating the group took after Natalie Maines said, on the eve of war, that the Chicks were ashamed that the President is from Texas. It's not exactly surprising that a large portion of The Dixie Chicks' audience didn't take kindly to a remark that was strongly anti-war and anti-American. Before Maines' comment, the group was at a high point in their career. Home was another multimillion selling CD and Landslide was Dixie Chicks' first big pop hit. While Landslide is Dixie Chicks' first real crossover, their pop success is hardly a shock. Like many successful country artists, their music is often like easy listening pop. It's no secret that a lot of the top country artists of the last two decades are big fans of 70s easy California rockers like The Eagles and Fleetwood Mac. Stevie Nicks originally sang her composition on Fleetwood Mac's 1976 self titled CD. While Dixie Chicks' version has country instruments, the arrangement is nearly identical to the one from The Dance CD that Fleetwood Mac had a hit with five year ago. With a heavy helping of strings and innocuous acoustic guitar, Dixie Chicks' version is smooth but pretty bland. The main attraction is The Chicks' good harmonies. The steel guitar and Maines' slightly idiosyncratic lead(which is appropriate for Nicks' hippie poetry asking "can the child within my heart rise above") aren't bad either.
Jason Mraz-The Remedy(unchanged)
Jason Mraz is a young singer/songwiter from Virginia who made his way to San Diego. The Remedy is from Mraz' Waiting For My Rocket To Come CD, which was produced by John Alagia, who's worked with Dave Matthews and John Mayer. Mraz wrote The Remedy with The Matrix(Lauren Christy, Graham Edwards and Scott Spock), who wrote Avril Lavigne's hits. The Remedy is cute and catchy but it doesn't measure up to Lavigne's best work. The Matthews/Mayer connection is apt since Mraz is another cocky, glib young white guy though, to be fair to Matthews and Mayer, Mraz is glibber and his music seems less substantial. The Remedy is pleasant and boomer friendly but its relentless cheerfulness is too much. On its "I won't worry my life again" chorus, The Remedy's catchiness is undermined by a slick shallowness worthy of a TV commercial. Mraz does a white hipster rap on the verses of a sort that gave Barenaked Ladies and others hits but has fallen out of favor on the pop charts the last couple years. The Remedy's music is appropriately perky with a bouncy bass and guitar and cheap sounding synths.
Dave Matthews Band-Grey Street(down 2 positions)
Grey Street is the third chart hit from the Busted Stuff CD. With Matthews pleasant, empathetic vocal, Grey Street has the comfortable, familiar, well played feel of a lot of Dave Matthews Band music. Leroi Moores sax and Boyd Tinsleys violin give Grey Street the lurching, stop and start flow of a song like Ants Marching. Grey Street is about a woman trapped in her home by depression. Matthews shows his knowledge of dynamics, letting the music rise as the character is offered an opportunity to experience the world. But just as the woman chooses to stay inside, Matthews mostly chooses to stay within his familiar, comfortable musical form.
Missy Elliott featuring Ludacris-Gossip Folks(up 2 positions)
Gossip Folks is the second hit from the Under Construction CD. Gossip Folks again shows that Elliott(with help from coproducer Timbaland) is one of the most inventive people making mainstream records. With a hard, edgy sound, Gossip Folks smartly communicates the nastiness of trash talking and her disdain for it. Gossip Folks never takes a break. The repeated, harsh honking sample nicely creates a charged atmosphere. After a gossiping intro, Elliott announces her anger through a hoarse, agitated squeal. Gossip Folks mocks the song's gossipers by having them talk gibberish in a childish voice. I've never been a Ludacris fan but his rap is nicely focused and keeps Gossip Folks' energy high. The song finishes by giving Elliott a chance to put down the gossipers and then tell a joke, asking the people she just dissed to buy her record. I can imagine people finding Gossip Folks' harsh riff irritating. Gossip Folks isn't as inviting or likable as Work It. But while Gossip Folks isn't the effervescent song Work It is, it is a good, exciting, challenging single.
AFI-Girl's Not Greybuy it!
AFI's Sing The Sorrow CD is the California band's seventh record. Through the late 90s, A.F.I. tried different styles, principally hardcore and gothic. Their following kept growing to the point that AFI is now on a major label and they could work on Sing The Sorrow with big time producers Butch Vig(Nirvana, Smashing Pumpkins) and Jerry Finn(Blink 182). AFI have mostly taken advantage of their opportunity. AFI leader Davey Havok has become more confident and focused. Girl's Not Grey is solid and well made. AFI are clearly Bad Religion fans and Girl's Not Grey has the serious, intense sound of a good Bad Religion song. I like the way Girl's Not Grey shifts speed. Guitarist Jade Puget and drummer Adam Carson pick up the pace on the chorus and parts of the verses to exciting effect. Puget generally keeps things interesting with a variety of riffs. I don't love Girl's Not Grey. It's a little too tightly structured and Havok is kind of humorless. Still, his singing doesn't have the pretension and narcissism of so many contemporary rock singers. He reminds me of Joe Jackson in an earnest, hard rocking mode. Girl's Not Grey has a good, big, ungimmicky sound. When it gets juiced up, it's quite thrilling. Girl's Not Grey might be about finding a moment of calm before creating the art that "does drown" and "will swallow whole."
Simple Plan-I'd Do Anything(up 3 positions)
Blink 182's progeny keep coming with good spirited, stupid punky pop. I'd Do Anything, from the Montreal based band's No Helmets, No Pads ... Just Balls CD, is notable since, unlike the genre's recent batch of hits which crossed over from the modern rock charts to the pop charts, it first found success at pop radio. Kid friendly, fast, dumbed down punk has become a significant part of today's standard top 40 playlist. Simple Plan share with Blink, Sum 41 and so many others a youthful image, unimaginative lyrics and a good sense of a hook. I'd Do Anything supplies a simple version of an already very basic style. Singer Pierre Bouvier are particularly bratty and unskilled. The guitar lines predictably crunch, wail and gallop where you'll expect them to. I'd Do Anything copies the form of a Blink 182 rocker right down to the break that precedes the chorus' last round. The upside of I'd Do Anything is its sunny, high energy feel. I'd Do Anything also avoids the showy goofiness that can infect the music of bands like fellow Canadians Sum 41. In its lyrics and delivery, I'd Do Anything is unpretentious and good natured. Bouvier offers to do anything to get back a former love.
John Mayer-Why Georgia(unchanged)
Why Georgia is the third chart hit from the young singer/songwriter's Room For Squares CD. More than a year after No Such Thing first hit the chart, my thoughts about Mayer are basically the same. Mayer has a mellow, mildly whimsical style that would normally be consistent with an older artist who is tired and slowing down or bemused after years of facing life's absurdities. It's odd to me that someone in his mid 20s seems so unambitious and self satisfied. The frankly sexual Your Body Is A Wonderland was charmingly cheeky but Yes Georgia is just more pleasant, vague, easy listening. Mayer again deploys a vocal that's sly and engaging but has little force. Mayer is apparently a good guitar player but he's careful not to be too showy, only displaying his skills in very limited bursts. I don't know whether it symbolizes an urge to leave his mild, smooth work behind and make more challenging music but on Why Georgia, Mayer sings about being tempted to leave his drab, lonely Georgia life behind, asking "am I living it right?" Mayer asks whether he should take a chance and tells himself he can't be satisfied with "everything happens for a reason."
Foo Fighters-All My Life(unchanged)
All My Life is from the One By One CD. It's long been clear that Dave Grohl won't approach the brilliance and significance with Foo Fighters former bandmate Kurt Cobain did with Nirvana. But Grohl has already achieved a longevity that Cobain sadly could never have and amassed a solid body of work. Foo Fighters have continued to make decent music and retain a fan base, even as the rock audience's taste has changed. Grohl's music has remained fairly uncomplicated and ungimmicky and he still has a good knack for a hook. While not obviously following trends, Grohl has also kept an eye on the competititon, most recently playing drums for good hard rockers Queens Of The Stone Age. Like a lot of Foo Fighters music, All My Life is not great but good. While it doesn't have their personality, All My Life is very reminiscent of the Foos' best intense rockers like This Is A Call, Monkey Wrench and Everlong. It's fast, fun and lean. Grohl keeps the crunching guitar coming. Grohl isn't the best singer but he's aware of his limitations and, as usual, it's a hoot when he whips himself into such a frenzy that he can't help but scream. On All My Life sings and rants about how he's always been "searching for something", presumably love, but the "something never comes." Haunted by a ghost of someone from the past, Grohl simultaneously rues and exalts in the fact that with women it's "done, done then one to the next one."
Aaliyah-Miss Youbuy it!
More than a year and a half after her death, Aaliyah is back on the charts with her second posthumous pop hit. Miss You is on the I Care 4 U CD, which includes eight of Aaliyah's hits and six new songs. I find Miss You, with tweeting bird effects presumably meant to evoke heaven, a touch creepy. On the video, popular artists lip synch Aaliyah's lines about missing a lover who went off to college as if they wrote the song about Aaliyah. It's a little weird but the performers' affection for Aaliyah is surely real. Miss You, written and produced by Johnta Austin and Teddy Bishop, is generally OK. Aaliyah's singing is fine and it's nicely mixed with good backing vocals. A quiet, simple beat and restrained keyboards don't interfere with the ethereal mood. Miss You's music is oddly similar to that of Minnie Ripperton's Lovin' You. It's very smooth and soothing. It's also so mellow it could put you to sleep.
David Gray-Be Minebuy it!
Be Mine is the second chart hit from David Gray's A New Day At Midnight CD. To Gray's credit, it doesn't seem like he made himself crazy trying to make a commercial hit to follow Babylon. Gray is still making pleasant, unassuming music. Gray's lyrics are often gloomy but Be Mine is upbeat, celebrating the woman who "reached right into my head and turned on the light inside" and made "all the dreams I held in my heart" come true. She isn't smitten like he is yet but Gray, in his low key way, is optimistic, feeling that a love so strong can't be wrong.
JC Chasez-Blowin' Me Up (With Her Love)(down 7 positions)
The fun, frenetic Blowin' Me Up With Her Love ensures that Justin Timberlake isn't the only N Sync-er finding solo success. While it doesn't indicate that Chasez will replace Timberlake as pop music's top hunk, I actually prefer Blowin' Me Up, with its sense of mischief, to Justin's carefully crafted hits. Blowin' Me Up is on the soundtrack to Drumline, a movie about competitions between school drumming groups that often infuse their synchronized performances with a hip hop sensibility. With its energy and big beat, Blowin' Me Up is a strong companion to the film. Deploying different riffs in different sections but maintaining a strong, stirring beat, Producer Dallas Austin(TLC, Boys II Men, Pink) creates an anything can happen feel and has more to do with Blowin' Me Up's success than its fairly innocuous singer. I don't love the way Blowin' Me Up starts with Chasez trying to sound cool but coming across a little lame. But the song improves as backup singers and beeping effects juice things up. Blowin' Me Up catches fire about two thirds of the way through with horns and drumline style percussion cueing Chasez to show a little more life as he proclaims "now it's on tonight." Blowin' Me Up is a fairly standard come on to a sexy girl in a club but the sleek sound emphasizes the lyric's sensuality.
Rhett Miller-Come Aroundbuy it!
Rhett Miller is on a break from leading the alt country band Old 97's. Come Around is from Miller's solo record, The Instigator. Not surprisingly, Come Around sounds a lot like an Old 97's song. Old 97's have normally struck me as fine but not particularly exciting or interesting. Most of Come Around is draggy. Miller whines over unimaginative backing with basic drumming and strumming. The mopey mood is appropriate for a self pitying song where Miller obsesses over a breakup. Just when Come Around seems like it's going to keep dully droning, Miller comes up with a killer hook. The chorus is very catchy. Miller yearningly relates that unless she comes back, he's "gonna be lonely for the rest of my life." The problem is, the song keeps going back to boring verses and the chorus isn't quite as appealing as it continually recurs.
Paul Simon-Father and Daughter(unchanged)
Paul Simon's projects of the last 10 years(The Capeman and You're The One) got relatively little mainstream attention but he's made our Top 50 for the first time and gotten an Oscar nomination for his song from the Wild Thornberrys Movie soundtrack. I'm a little creeped out by the fact that 60 year old Simon has a 7 year old daughter(with wife Edie Brickell) but I appreciate that she's inspired one of Simon's best songs in years. Simon has a history of overthinking things but on Father And Daughter he smartly keeps things simple. Though he Simon uses a full band, Father And Daughter feels like a low budget homemade labor of love. With a basic, chugging drum machine beat(credited to longtime Simon sideman Steve Gadd), Father And Daughter has an uncomplicated arrangement that lets Simon's sweet message connect. Father And Daughter's one adornment is a beautiful, shimmering guitar. Despite the presence of Vincent Ngiuni, Simon's guitar player since Rhythm Of The Saints, Simon apparently played the exotic sounding riff. As the father of the cutest girl in the world, I'm particularly susceptible to Father And Daughter's charms but Simon's heartfelt message of love should touch even the coldest heart. Simon's promises that he'll protect his daughter seem both personal and universal. And the chorus, featuring harmonies by Simon's 10 year old son Adrian, with its "there could never be a father who loved his daughter more than I love you" hook perfectly distills the song's direct, unembarrassed sentiment.
Sum 41-Still Waiting(down 9 positions)
Sum 41's new CD is called Does This Look Infected? Sum 41 broke through with the youthful, poppy, punky hits from All Killer, No Filler CD. Still Waiting shows signs that the band is making the huge mistake of wanting to grow up and be taken seriously. Still Waiting's video reveals jealousy at the critical respect The Strokes receive. On Fat Lip, the band just demanded the chance to have a good, stupid time. Now they want us to believe that they're looking for "hope to believe" in a world full of hating. It seems clear that Sum 41 is best suited to make dopey, fun music and that's what people want from them. Still Waiting, with its attempt at lyrical significance and Derick Whibley's meaningful ranting, has an uncomfortable resemblance to the lesser work of The Offspring, whose music seems to get stupider the more they try to seem smart. Still Waiting does show benefits of Sum 41's new intensity. I don't love the darkness of the singing and Whibley and Dave Baksh's guitar but I do like that Still Waiting is fast, energetic and focused, without the foolishness that has made some of their music more cutesy than fun.
Jay-Z featuring Beyonce-03 Bonnie & Clyde(down 3 positions)
03 Bonnie & Clyde, from The Blueprint 2: The Gift and The Curse, is Jay-Zs biggest pop hit so far(yeah Im pretty sure its even bigger than that Hard Knock Life song). Not being the most knowledgable hip hop fan, I thought of Coolios Gangstas Paradise when I first heard 03 Bonnie & Clyde. Of course, the most direct influence on 03 B & C is Tupac Shakurs Me and My Girlfriend. Jay-Z reminds me of his fellow ultra successful entrepreneur P. Diddy. They both arent so skilled as rappers but get by with their spoken voice style on confidence and a forceful personality. Especially on 03 B & C, my votes with Jay-Z. His rap is fairly uninflected but it has an appealing directness and doesnt have the silliness and ego that can plague Diddy. With a good, steady beat and acoustic guitar riffs, Jay-Zs unstoppable vocal and the soft, sexy contributions of Jay-Zs real life girlfriend Beyonce Knowles, 03 B & C has an appealingly smooth, relaxed flow. The lyric paints a sweet picture of domestic bliss. Depicting he and B as the new Bobby and Whitney(an unusual choice of romantic role models), Jay-Z describes a relationship of free communication(except when Bs watching Sex and The City) where each would do anything necessary for the other and disses dudes that treat the one that you lovin with the same respect as the one that you humpin.