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tothetune2012-09-26 12:01 am
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AP Interview with deadmau5 and Gerard
Early last year, electronic dance music fulcrum DEADMAU5 and My Chemical Romance frontman GERARD WAY teamed up to record "Professional Griefers," one of 2012's best singles. While both men built their formidable reputations coming up through different cultures, these days, they'd rather pile tons of rulebooks on top of said communities, pour gasoline on them and watch them burn.
INTERVIEW: JASON PETTIGREW/PHOTO ILLUSTRATION: AARON SECHRIST
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Despite everyone citing Prodigy, Chemical Brothers and Aphex Twin at various junctures for being responsible for electronic music "breaking in America," that designation clearly goes to deadmau5, aka Canadian electronic dance music artist Joel Zimmerman, whose 2010 album, 4x4=12 became a cultural foothold for the EDM community. As lead singer of My Chemical Romance, Gerard Way needs no introduction to AP readers. But when he teamed up with deadmau5 for the track "Professional Griefers" on Zimmerman's latest, > album title goes here <, significant waves were made in their respective scenes. Factor in both artists' recent positions on said subcultures, and things can get pretty lively--which meant Jason Pettigrew had to get them on the phone to go off on fan response, work ethics, the levels of opportunism inherent in any music scene and Justin Bieber's drug habits.
How long was "Professional Griefers" in the works"
DEADMAU5: Man, a long time. I don't even know. Maybe even a year ago because I had been touring with it all last tour [as an instrumental track].
GERARD WAY: I had just heard of you, I think. And I was excited. I actually made a cat head because I liked your mouse head. I made this big cat head for the first video [from our last album] "Na Na Na…" I had made this cat thing called… I think I called it… What did I call it? Mousekat or something? It's this crazy, furry mouse-cat thing. You can actually see it in the "Na Na Na" video. I used it as a gasmask, and it's really brief. Anyway, it was the strangest thing, and I got really excited about [working with you], and that was it. But, I was a little bit unfamiliar.
How did you guys keep that a secret in a world where information is king and if you can't do anything creative, you might as well leak someone else's plans?
DEADMAU5: Well, we didn't. You just don't go on the internet.
WAY: Was that it? It felt like it was a big secret.
DEADMAU5: It really was for the vast majority of the public, but a lot of kids figured it out a long time ago. But those are the diehard fans and all that. I did hear some things. I think it was shortly after we recorded at [Rob Cavallo's] place. I went home, and I was attempting to mix vocals, and my stream was on, and everyone was like, "Who is that singing?" And I'm like, "I'm not telling nobody. Don't worry about it," and I quit the project. [And the response] was like, "Wow, that sounds like Gerard Way." And I was like, "How did they fucking get that?"
WAY: Yeah. It was this crazy thing. You sent this track over, and it came over with the wrong title--so it was "Grievers." I almost didn't choose the track based off that title. Because I was like, "That's a bit on-the-nose for me. I don't know if I want to be on a song called 'Grievers.'" But I liked the song so much! I was like, "I don't know. I think the title's a little bit on-the-nose, but it's the best one, and I love the song so much that I hear a melody in here that's really great." Then I got the real title and I was so pumped for that. The lyrics kind of wrote themselves after that title came, and I tapped into everything from Battle Royale to William Gibson.
DEADMAU5: Oh, my god-nobody told me that. Good thing I didn't go with "Grievers" in the title, then. That would have sucked for you.
Joel, what made you want to work with Gerard, anyway? Were you a fan of MCR? What was your exposure to this band?
DEADMAU5: You know what? I'm going to be brutally honest, man. I'm not a hater, but [MCR] wasn't at the forefront of my daily routine. I'm about as big a fan of MCR as I am of… No, I wouldn't say Kenny G, because I fucking hate Kenny G.
So you were like, "Oh. I guess I'll get this dude, who sings in a band that's kind of popular and likes comic books and robots."
DEADMAU5 [To Way.] It was your hair.
WAY: Ahhhh, it was the hair. I gues it had come through that he wasn't asking a lot of people to sing on the record, and I was like, "Well, why me?" Maybe it was being pissed off. Danger Days is a notoriously angry record, and that's the only thing I could think of. Because, there are like, how many people singing on the record? Three? And one of them is, like, somebody that just sent you a track that you'd never heard of.
DEADMAU5: The first time I met you, I chucked a lighter in your direction, and it blew up.
WAY: Here's my question: Was that a lighter, or a Whip-It? This is how we met, check this out: [To deadmau5.] This motherfucker is late for his set at T In The Park by, like, 15 minutes. For his own set. He finally shows up, distinctly throws what I believe to have been a Whip-It at my head, but have now come to understand was a lighter…
DEADMAU5: [Giggling.] It was a lighter.
WAY: I believe you now. I had no idea what it was. Whatever--it burst. That's what lead me to believe it was a Whip-It, so, that makes sense that it's a lighter, actually.
DEADMAU5: Failed assassination plot.
WAY: He comes out, and the first thing he says before he goes onstage is, "Yo, we gotta fix that song. There's something up with that chorus. I think there's something wrong with it." That's the first thing he says to me. We've never met. He goes, "The chorus is broken" or something, and I'm like, "It's nice to meet you. I'm going to watch your set," and then I knew I kind of dug him, because I liked his energy. I dug that he threw a Whip-It and/or lighter at me, and I dug the fact that his crowd was absolutely batshit and it had this amazing, fuck-you energy.
DEADMAU5: You're really good at this.
WAY: Me?
DEADMAU5: I'm, like, the worst [at interviews]. You make everything sound so fun and awesome, and how exciting it all really was, whether it was mediocre or not. You know what I mean? I can't do these.
WAY: I like telling stories. You gotta tell stories.
DEADMAU5: There are storytellers, and then there are dudes that, at the end of the storyteller's tale, are like, "Cool story, bro." That's me.
WAY: That's exactly this dude.
The commonality here is that your both in service to the work, period. If it means alienating the cultures you came through, it doesn't mater.
DEADMAU5: Then I would have done a track with Kanye. It's for the work, too, but it's with people that you want to work with. It's a bit of both.
WAY: [To deadmau5.] He means service to the work as in just grinding it out for 48 hours, not giving a shit.
You're doing the work and if the result makes your pubic hairs spike like a sea urchin, then it's worth doing.
WAY: Yeah, I'm completely in service to the work in that way. It's not about caring how it's received at all. It was kind of strange when he got in touch with me. It had been a while where I was sitting there wanting to do something, and I think maybe this is a different influence. I know that Joel's a big Daft Punk fan; I'm a big Chemical Brothers fan, and it had been a while where I wanted to do something a lot like the Chemical Brothers. I had been talking about this forever, just with my friends and stuff. When this opportunity came up…
DEADMAU5: [Giggling.] My Chemical Bromance?
WAY: I wanted to do something like that and it was a really amazing opportunity to hop on right away.
Like it or not, you guys are perceived as ambassadors of particular music cultures, whether it's Joel and the EDM scene or back when My Chem were making their post-emo ascension in 2006. Neither of you wanted the notoriety; you just wanted to make music and do something. Now it seems that anytime an artist reaches a certain level of fame, there are expectation being put on you by all sides. And from what I know about you two, you guys seem like you wished you had five middle fingers on one hand to prove how much you care about the communities you came up through.
DEADMAU5: Yea. That's a good one. I'm going to start doing that. No, I'm not that angry.
WAY: Everything else you said about wanting to make stuff and not be the guy waving the fucking banner, yeah.
Those kinds of cultures are necessary, because it starts out as a community. But if somebody's career takes off, all knives are out and everybody turns into a squealing bunch of bitches, entitled to their own part of the action. TI's almost like you have to don a suit of belligerent, psychic Kevlar to function in the music biz today.
DEADMAU5: It's always good to have a costume, I guess. I mean, I'm already seeing, "Oh, ["Professional Griefers"] sounds better without the vocal" and "You ruined it." Dude, then listen to the fucking instrumental, you know? Whatever. Obviously, I'm going to get flack for it, and [Gerard's] going to get flack for it. But you know what? I've got a whole palette of fucks down in my storage locker, and I can't give a single one of them, really.
WAY: It's kind of crazy to me, too, because it blows my mind. Because it's all fucking music. I don't… [Pauses.] Man, is it naive of me to say I don't see see a giant difference in how pissed off me or Joel is, or in our perspectives or points of view? I don't think I wrote anything in the lyrics he doesn't agree with, and I don't think there's anything in his music that I didn't agree with. I think we have a complete common ground. It's not like I'm a nü-metal dude yelling about, I don't know, a fucking "Lamborghini and bitches" or something.
That's when things get dumbed down and massively diluted. When Rolling Stone is quoting Skrillex as saying he gets messages from 10-year-olds saying, "I'm making dubstep," you have to wonder where that culture is heading.
DEADMAU5: Doesn't that happen with everything, though? I mean, didn't that happen with hip-hop? Fuck.
Absolutely.
WAY: Rock became eyeliner and a haircut.
Joel, you've been pretty outspoken about a lot of stuff, especially laptop jockeys pretending to be mixing live but actually paying their bills online. And Gerard, My Chemical Romance don't play Warped Tour anymore, but you've got friends in bands still doing it. You understand where the traps are in certain things.
WAY: I'm not going to judge anybody that plays Warped Tour. I think that the older I get, I see the reasoning behind playing that, and I see that there's a different path. I don't think a kid that goes to Warped Tour would even be able to relate to [My Chem] anymore. Who's not relating to whom anymore? Maybe in 10 years, people going to an electronic music festival won't be able to relate to Joel's music.
DEADMAU5: We would have [gigs] in casinos and places like that.
What musical genre should die a quick death already?
DEADMAU5: Any that aren't done properly, that, at the very least, give fucking pop culture a viable conduit to dial into and ride out like a bitch until it becomes disastrously unpopular.
I see two sides of the music business; one's the music; one's the business. You have success on either side, but thre rewards for the music business are just kind of overtipping the scales. So when you get, like, fucking Lil Wayne cruising around dance clubs these days going, "Yo! Yo! I really love this beat; we should work on something." Why? What musical part of you decided it was cool to work this into your exploit machine to sell to new and old markets when you were previously successful doing something completely different and unrelated. Not to stifle the efforts of popular musicians to branch out musically. But nine times out of 10, it's not about going out and trying this "bold, new thing." It's about just fucking moving your interests over to another market to expand your personal fucking jerk-off for fame and a quick sell.
You know, Justin Bieber's recent single is a dubstep track.
DEADMAU5: So how many times has Justin Bieber been in a fucking basement in Leeds overdosing on Ketamine, really getting into the fucking dubstep thing? If it was more than twice, then that's okay, but if it was just once… [Laughter.]
That's when it's okay to go into that kind of thing. It's a rooted thing that took a long time to develop and get popular, and then it got popular real fuckin' fast. And now, well, J. Biebs is doing a dubstep track. I'm pretty sure he's not doing it because he's really moved by the dubstep community and all the purveyors of the sound from the late '90s and how that evolved and change. No, dude: You didn't know shit about it until it was all over Kmart thanks to fucking Skrillex, and now you fucking want to just be that, because it appeals to a large percentage of fucking fans you wouldn't otherwise have.
I know people who couldn't wait to buy the new Deadmau5 record simply because they read your venting in Rolling Stone. It's not solely about youth culture; older music fans want to get excited about something that's authentic. They want somebody who's going to take a stand on things, and that's important.
DEADMAU5: True. That is actually really important, and I think Gerard's done a pretty good job of that too.
Yeah, he has.
DEADMAU5: People want to connect to another human being that's just as fucked-up and opinionated as they are. That's what people want to connect with, and that's what people will suport, politically, musically, and in all other walks of life. Who wants to buy into the already well-know, "This guy's a product of this so-and-so corporation" who's obviously already a poster child of a mass-produced fucking musical mound, you know? Just like a lot of pop acts: How much work do they put in other than singing into a microphone and getting Auto-Tuned outside of that? None. I think the more artists express more of the how-to's, how they feel and sharing their frustrations in getting to where they got, I think people want to connect to that--more so than to someone that's pandering to them.
Last question: What should the title of this article be?
DEADMAU5: You know what? Gerard can answer. My hand's getting fucking tired.
WAY: "Daddy, Do You Want Some Coffee?" That's what [my daughter] Bandit just said.
DEADMAU5: I like that, but do you need an alternate title?
I'll take an alternate title.
DEADMAU5: "Insert Article Title Here."
Dig that cross-marketing and synergy.
WAY: Well, I thought I was being clever because there's a song called "There Will Be Coffee" on his record.
DEADMAU5: [Correcting.] "There Might Be Coffee."
WAY: "There Might Be Coffee." [Sighs.] Damnit.
[SOURCE: SCANS from the November 2012 issue of AP]
INTERVIEW: JASON PETTIGREW/PHOTO ILLUSTRATION: AARON SECHRIST
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![](http://i765.photobucket.com/albums/xx297/tothetune/Article%20Scans/APNovember2012/tumblr_maxjq7sT9B1qkbm6yo4_r1_1280.png")
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Despite everyone citing Prodigy, Chemical Brothers and Aphex Twin at various junctures for being responsible for electronic music "breaking in America," that designation clearly goes to deadmau5, aka Canadian electronic dance music artist Joel Zimmerman, whose 2010 album, 4x4=12 became a cultural foothold for the EDM community. As lead singer of My Chemical Romance, Gerard Way needs no introduction to AP readers. But when he teamed up with deadmau5 for the track "Professional Griefers" on Zimmerman's latest, > album title goes here <, significant waves were made in their respective scenes. Factor in both artists' recent positions on said subcultures, and things can get pretty lively--which meant Jason Pettigrew had to get them on the phone to go off on fan response, work ethics, the levels of opportunism inherent in any music scene and Justin Bieber's drug habits.
How long was "Professional Griefers" in the works"
DEADMAU5: Man, a long time. I don't even know. Maybe even a year ago because I had been touring with it all last tour [as an instrumental track].
GERARD WAY: I had just heard of you, I think. And I was excited. I actually made a cat head because I liked your mouse head. I made this big cat head for the first video [from our last album] "Na Na Na…" I had made this cat thing called… I think I called it… What did I call it? Mousekat or something? It's this crazy, furry mouse-cat thing. You can actually see it in the "Na Na Na" video. I used it as a gasmask, and it's really brief. Anyway, it was the strangest thing, and I got really excited about [working with you], and that was it. But, I was a little bit unfamiliar.
How did you guys keep that a secret in a world where information is king and if you can't do anything creative, you might as well leak someone else's plans?
DEADMAU5: Well, we didn't. You just don't go on the internet.
WAY: Was that it? It felt like it was a big secret.
DEADMAU5: It really was for the vast majority of the public, but a lot of kids figured it out a long time ago. But those are the diehard fans and all that. I did hear some things. I think it was shortly after we recorded at [Rob Cavallo's] place. I went home, and I was attempting to mix vocals, and my stream was on, and everyone was like, "Who is that singing?" And I'm like, "I'm not telling nobody. Don't worry about it," and I quit the project. [And the response] was like, "Wow, that sounds like Gerard Way." And I was like, "How did they fucking get that?"
WAY: Yeah. It was this crazy thing. You sent this track over, and it came over with the wrong title--so it was "Grievers." I almost didn't choose the track based off that title. Because I was like, "That's a bit on-the-nose for me. I don't know if I want to be on a song called 'Grievers.'" But I liked the song so much! I was like, "I don't know. I think the title's a little bit on-the-nose, but it's the best one, and I love the song so much that I hear a melody in here that's really great." Then I got the real title and I was so pumped for that. The lyrics kind of wrote themselves after that title came, and I tapped into everything from Battle Royale to William Gibson.
DEADMAU5: Oh, my god-nobody told me that. Good thing I didn't go with "Grievers" in the title, then. That would have sucked for you.
Joel, what made you want to work with Gerard, anyway? Were you a fan of MCR? What was your exposure to this band?
DEADMAU5: You know what? I'm going to be brutally honest, man. I'm not a hater, but [MCR] wasn't at the forefront of my daily routine. I'm about as big a fan of MCR as I am of… No, I wouldn't say Kenny G, because I fucking hate Kenny G.
So you were like, "Oh. I guess I'll get this dude, who sings in a band that's kind of popular and likes comic books and robots."
DEADMAU5 [To Way.] It was your hair.
WAY: Ahhhh, it was the hair. I gues it had come through that he wasn't asking a lot of people to sing on the record, and I was like, "Well, why me?" Maybe it was being pissed off. Danger Days is a notoriously angry record, and that's the only thing I could think of. Because, there are like, how many people singing on the record? Three? And one of them is, like, somebody that just sent you a track that you'd never heard of.
DEADMAU5: The first time I met you, I chucked a lighter in your direction, and it blew up.
WAY: Here's my question: Was that a lighter, or a Whip-It? This is how we met, check this out: [To deadmau5.] This motherfucker is late for his set at T In The Park by, like, 15 minutes. For his own set. He finally shows up, distinctly throws what I believe to have been a Whip-It at my head, but have now come to understand was a lighter…
DEADMAU5: [Giggling.] It was a lighter.
WAY: I believe you now. I had no idea what it was. Whatever--it burst. That's what lead me to believe it was a Whip-It, so, that makes sense that it's a lighter, actually.
DEADMAU5: Failed assassination plot.
WAY: He comes out, and the first thing he says before he goes onstage is, "Yo, we gotta fix that song. There's something up with that chorus. I think there's something wrong with it." That's the first thing he says to me. We've never met. He goes, "The chorus is broken" or something, and I'm like, "It's nice to meet you. I'm going to watch your set," and then I knew I kind of dug him, because I liked his energy. I dug that he threw a Whip-It and/or lighter at me, and I dug the fact that his crowd was absolutely batshit and it had this amazing, fuck-you energy.
DEADMAU5: You're really good at this.
WAY: Me?
DEADMAU5: I'm, like, the worst [at interviews]. You make everything sound so fun and awesome, and how exciting it all really was, whether it was mediocre or not. You know what I mean? I can't do these.
WAY: I like telling stories. You gotta tell stories.
DEADMAU5: There are storytellers, and then there are dudes that, at the end of the storyteller's tale, are like, "Cool story, bro." That's me.
WAY: That's exactly this dude.
The commonality here is that your both in service to the work, period. If it means alienating the cultures you came through, it doesn't mater.
DEADMAU5: Then I would have done a track with Kanye. It's for the work, too, but it's with people that you want to work with. It's a bit of both.
WAY: [To deadmau5.] He means service to the work as in just grinding it out for 48 hours, not giving a shit.
You're doing the work and if the result makes your pubic hairs spike like a sea urchin, then it's worth doing.
WAY: Yeah, I'm completely in service to the work in that way. It's not about caring how it's received at all. It was kind of strange when he got in touch with me. It had been a while where I was sitting there wanting to do something, and I think maybe this is a different influence. I know that Joel's a big Daft Punk fan; I'm a big Chemical Brothers fan, and it had been a while where I wanted to do something a lot like the Chemical Brothers. I had been talking about this forever, just with my friends and stuff. When this opportunity came up…
DEADMAU5: [Giggling.] My Chemical Bromance?
WAY: I wanted to do something like that and it was a really amazing opportunity to hop on right away.
Like it or not, you guys are perceived as ambassadors of particular music cultures, whether it's Joel and the EDM scene or back when My Chem were making their post-emo ascension in 2006. Neither of you wanted the notoriety; you just wanted to make music and do something. Now it seems that anytime an artist reaches a certain level of fame, there are expectation being put on you by all sides. And from what I know about you two, you guys seem like you wished you had five middle fingers on one hand to prove how much you care about the communities you came up through.
DEADMAU5: Yea. That's a good one. I'm going to start doing that. No, I'm not that angry.
WAY: Everything else you said about wanting to make stuff and not be the guy waving the fucking banner, yeah.
Those kinds of cultures are necessary, because it starts out as a community. But if somebody's career takes off, all knives are out and everybody turns into a squealing bunch of bitches, entitled to their own part of the action. TI's almost like you have to don a suit of belligerent, psychic Kevlar to function in the music biz today.
DEADMAU5: It's always good to have a costume, I guess. I mean, I'm already seeing, "Oh, ["Professional Griefers"] sounds better without the vocal" and "You ruined it." Dude, then listen to the fucking instrumental, you know? Whatever. Obviously, I'm going to get flack for it, and [Gerard's] going to get flack for it. But you know what? I've got a whole palette of fucks down in my storage locker, and I can't give a single one of them, really.
WAY: It's kind of crazy to me, too, because it blows my mind. Because it's all fucking music. I don't… [Pauses.] Man, is it naive of me to say I don't see see a giant difference in how pissed off me or Joel is, or in our perspectives or points of view? I don't think I wrote anything in the lyrics he doesn't agree with, and I don't think there's anything in his music that I didn't agree with. I think we have a complete common ground. It's not like I'm a nü-metal dude yelling about, I don't know, a fucking "Lamborghini and bitches" or something.
That's when things get dumbed down and massively diluted. When Rolling Stone is quoting Skrillex as saying he gets messages from 10-year-olds saying, "I'm making dubstep," you have to wonder where that culture is heading.
DEADMAU5: Doesn't that happen with everything, though? I mean, didn't that happen with hip-hop? Fuck.
Absolutely.
WAY: Rock became eyeliner and a haircut.
Joel, you've been pretty outspoken about a lot of stuff, especially laptop jockeys pretending to be mixing live but actually paying their bills online. And Gerard, My Chemical Romance don't play Warped Tour anymore, but you've got friends in bands still doing it. You understand where the traps are in certain things.
WAY: I'm not going to judge anybody that plays Warped Tour. I think that the older I get, I see the reasoning behind playing that, and I see that there's a different path. I don't think a kid that goes to Warped Tour would even be able to relate to [My Chem] anymore. Who's not relating to whom anymore? Maybe in 10 years, people going to an electronic music festival won't be able to relate to Joel's music.
DEADMAU5: We would have [gigs] in casinos and places like that.
What musical genre should die a quick death already?
DEADMAU5: Any that aren't done properly, that, at the very least, give fucking pop culture a viable conduit to dial into and ride out like a bitch until it becomes disastrously unpopular.
I see two sides of the music business; one's the music; one's the business. You have success on either side, but thre rewards for the music business are just kind of overtipping the scales. So when you get, like, fucking Lil Wayne cruising around dance clubs these days going, "Yo! Yo! I really love this beat; we should work on something." Why? What musical part of you decided it was cool to work this into your exploit machine to sell to new and old markets when you were previously successful doing something completely different and unrelated. Not to stifle the efforts of popular musicians to branch out musically. But nine times out of 10, it's not about going out and trying this "bold, new thing." It's about just fucking moving your interests over to another market to expand your personal fucking jerk-off for fame and a quick sell.
You know, Justin Bieber's recent single is a dubstep track.
DEADMAU5: So how many times has Justin Bieber been in a fucking basement in Leeds overdosing on Ketamine, really getting into the fucking dubstep thing? If it was more than twice, then that's okay, but if it was just once… [Laughter.]
That's when it's okay to go into that kind of thing. It's a rooted thing that took a long time to develop and get popular, and then it got popular real fuckin' fast. And now, well, J. Biebs is doing a dubstep track. I'm pretty sure he's not doing it because he's really moved by the dubstep community and all the purveyors of the sound from the late '90s and how that evolved and change. No, dude: You didn't know shit about it until it was all over Kmart thanks to fucking Skrillex, and now you fucking want to just be that, because it appeals to a large percentage of fucking fans you wouldn't otherwise have.
I know people who couldn't wait to buy the new Deadmau5 record simply because they read your venting in Rolling Stone. It's not solely about youth culture; older music fans want to get excited about something that's authentic. They want somebody who's going to take a stand on things, and that's important.
DEADMAU5: True. That is actually really important, and I think Gerard's done a pretty good job of that too.
Yeah, he has.
DEADMAU5: People want to connect to another human being that's just as fucked-up and opinionated as they are. That's what people want to connect with, and that's what people will suport, politically, musically, and in all other walks of life. Who wants to buy into the already well-know, "This guy's a product of this so-and-so corporation" who's obviously already a poster child of a mass-produced fucking musical mound, you know? Just like a lot of pop acts: How much work do they put in other than singing into a microphone and getting Auto-Tuned outside of that? None. I think the more artists express more of the how-to's, how they feel and sharing their frustrations in getting to where they got, I think people want to connect to that--more so than to someone that's pandering to them.
Last question: What should the title of this article be?
DEADMAU5: You know what? Gerard can answer. My hand's getting fucking tired.
WAY: "Daddy, Do You Want Some Coffee?" That's what [my daughter] Bandit just said.
DEADMAU5: I like that, but do you need an alternate title?
I'll take an alternate title.
DEADMAU5: "Insert Article Title Here."
Dig that cross-marketing and synergy.
WAY: Well, I thought I was being clever because there's a song called "There Will Be Coffee" on his record.
DEADMAU5: [Correcting.] "There Might Be Coffee."
WAY: "There Might Be Coffee." [Sighs.] Damnit.
[SOURCE: SCANS from the November 2012 issue of AP]