Santigold first burst into the scene with her brilliant 2008 genre-bending debut Santogold (pre-name change, of course), featuring killer cuts like “L.E.S. Artistes” and “Lights Out” that quickly won her comparisons to acts ranging from M.I.A. to The Gossip.

While she’s busied herself in between 2008 and now–including collaborating with N.A.S.A. and Basement Jaxx and penning “Monday Morning” and “Bobblehead” for Queen Legendtina‘s Bionic–fans have remained hungry for her long delayed, highly anticipated follow-up.

In a new interview this month with V Magazine, the Philly-bred musician revealed new details about her upcoming sophomore attempt now due out in 2012, called Master of My Make-Believe, which was been recorded with Greg Kurstin, Switch, TV On The Radio‘s Dive Sitek and Nick Zanner of the Yeah Yeah Yeahs.

Two choice quotes from the article:

How do you go about songwriting?

I write to the music. The lyrics came slowly on this record.

Why do you think that was?

It was about learning to trust myself. I also had expectations. Never have those! Everyone I worked with before was in a different headspace. I had to get past that. That’s why I started writing with Nick, and it started being cool and fun.

So was that the turning point?

That was when it was like, I just want to work with who I want. We recorded in Jamaica for a little while and finally some lyrics started to come to me. I think that time really colored the record.

No one wants to be real anymore. Wikipedia is always wrong. No one fact checks and it’s not even a priority. Reality TV is more popular than ever, and it’s the fakest thing ever. Where is there place for truth in all of that? My record is called Master of My Make-Believe because I want it to be about creating your own reality. I have a song called “The Keepers”: “we’re the keepers, while we sleep in America our house is burning down.” It’s about how if we accept this then that’s what it is. We’ve got to fix it.

Is that, in your opinion, the overall feeling of the record?

I connect with music that makes me feel alive, or a sense of possibility. Music is powerful. If I go out and I’m watching a show and it’s really good, all I want to do is go home and work on music. It’s a backhanded motivation when something is really good. I want my music to be that for people. I want it to be an initiator of something compelling, to set something in motion.

Make sure to check out the full article at V.

Kurstin, Switch and some Yeah Yeah Yeahs flavor to boot? Yes, yes and yes, PLEASE!

Frankly, it’s about time. While Santogold still sounds more fresh and innovative than most of the albums released in 2011, we’re in desperate need for Santi to switch up the game once again. For now, let’s go out with one of my favorite cuts off of her debut: “Shove It.”

We think you’re a joke, shove your hope where it don’t shine! (Not you, Santi!)

Master of My Make-Believe will be released in 2012. (iTunes)

In lieu of this week’s release of N.A.S.A.‘s brilliantly diverse effort, The Spirit of Apollo (click here for the review!), I present the Villains remix of “Whatchadoin.”

The mix is supreme–adding an electro-fied Global DeeJay‘s-esque thumpa-thump between all the best bits of the track. With just a quick fix of scorching electronica whirls and tribal, summery sensations, who knew the song could improve so much?

DL: Whatchadoin? (feat. Spank Rock, M.I.A., Santogold & Nick Zinner) (Villains Remix) (Sharebee)

Click above to order the album NOW!

Yes Muusers, the Yeah Yeah Yeah‘s upcoming single “Zero” from It’s Blitz has just made its way into the audio stream.

“Zero” sounds a bit like The Killers, if fronted by Santogold and produced by…Moby.

“Zero” sounds nothing like the Yeah Yeah Yeahs.

No crashing drums or howls on high from Karen O to be found here; just cold, calculated New Wave-esque electronica and guitar riffs. Normally I’d be all about the production in a pop song, but for the YYY’s? …Not their strongest suit.

As one fan noted, “Zero” is a grower, not a shower. But for the “their old stuff was better” crew seeking the impossibly raw, blood-n-dirt energy of Fever To Tell, this simply may not bode well for the band.

Let’s just hope that “Zero” is but the launching pad of the album.

EDIT: Upon listening ten more times this morning, I think I may like this after all.

DL: Yeah Yeah Yeahs – Zero (Sharebee)

I told you.

Last December, I predicted that the new album by N.A.S.A. (comprised of Sam Spiegel and DJ Zegon), The Spirit Of Apollo, would bring about a certain kind of Apocalypse.

Well, look around: A crumbling economy, a lesbian taking over as premier in Iceland…It’s only a matter of time before the Great Winged One of Darkness bursts forth through the crumbling Earth’s core and begins spewing hellfire and wickedness for eons to come.

But while we wait, we can still give a listen to the new album!

N.A.S.A., short for North America, South America is a collaborative effort between some of society’s most cherished and talented indie rockers, hip-hop superstars, and a slew of freaks and geeks in between (Karen O, Lykke Li, M.I.A, Santogold, and Tom Waits to name only a few) …all coming together for one masterful piecing together of music and imagery.

Opening tracks including “Money” and “Hip-Hop” take a moment to frown upon the evils of greed and the “instant fame” complex plaguing modern pop today, all within hook-heavy choruses and stellar musical production.

Like most of the raps featured within Spirit, the verses benefit from superior, thought-provoking lyricism rather than mile-a-minute brag attacks: “When I first started, I was whole hearted, but now the game became dearly departed / Billboard charted, artists get retarted when them checks come, I still respect some.”

Standouts on the album are generally unsurprising; those featuring the megawattage stars tend to shine brightest, such as Karen O’s deliciously unexpected cameo upon the appropriate titled “Strange Enough.” Though all too brief, hearing her weird, warbly voice only served to further my desire to hear the upcoming Yeah Yeah Yeah‘s release.

Then there’s “Gifted” featuring Lykke Li, Santogold, and Kanye West, a track that leaked earlier last year. With all of its glittering, sputtering beats and crushed electronica, “Gifted” sounds doubly gorgeous in high quality. “Way Down” is another sizzler, creeping in like a lazy ’70′s summer haze. “Don’t ask me where I’ve been…Way down,” Barbie Hatch slinkily croons throughout the funkified, tripping beat.

“Whatchadoin” might be the most irrestistable number; a thump-tastic set of classic M.I.A. back-n-forth rhyming, and uncontrollably catchy, plumped up beats. Santogold‘s rockier, grittier influence also makes itself apparent against the more tribal beats of M.I.A. “Whhhhatcha’ doin?” taunts the chorus, in a classic Arular stomper only Ms. Arulpragasam could properly dominate.

At times though, the album suffers from an oversaturation with heavy hip-hop, such as “The Mayor.” The same applies to “Spacious Thoughts,” which seems particularly all over the place with the inclusino of Tom Waits‘ signature growlings atop a doped-up, hip-hop thump that never fully unfolds into something cohesive.

Still, it’s an issue of preference. For me? I’m not into harder hip-hop, so the tracks don’t appeal. For others, I’m sure they could very well play like the tracklisting to a dream mix-tape.

In short, the album is a sm ashing success, bringing together the rich flavors and flows from all reaches–both geographical and musical. Hearing the album in full allows itself to the fundamental idea of musicas a forum for communication and expression, and this diverse cast of both superstar and underground icons truly serve to enrich the album with their own unique influences and styles.

Plus, the beats are pretty damn hot.

A job well done, N.A.S.A. Now go on and set the world ablaze.

DL: Whachadoin? (feat. Spank Rock, M.I.A., Santogold & Nick Zinner) (Starfire Remix) (Sharebee)

Click here to pre-order The Spirit of Apollo.

Obnoxious I know, considering that I’ve only just posted the Best Albums of 2008. But alas, it’s snowing…Hard. And when it’s snowing this hard, there’s only one thing to be done.

BLOG. IT. UP.

Somewhere after the top five single reviews, I wondered about how I would write up the remaining ten tracks (read: got lazy). Suddenly, I thought up the genius idea of making my reviews correspond to their song’s ranking in word quantity! And so, the idea has now been brought into fruition. And yes, I’m counting hyphenated words as one complete word.

I’ve had myself some fun. And now, I present…The Top 15 Tracks. Err, well…20.

I couldn’t resist!

Squeezing in…
20. Sia – Soon We’ll Be Found
19. Janet Jackson – Feedback
18. Will Young – Changes
17. Myl̬ne Farmer РDegeneration
16. Madonna – Give It 2 Me

15. Hercules & Love Affair – Blind
Pitchfork proclaims it top dog, but the “coming out” corker merely sizzles beneath the surface.

14. Girls Aloud – The Promise
Slowing down the tempo, the Girls don’t always need Hi-NRG tracks…just some glitter.

13. Britney Spears – Womanizer
New Britney is on a mission, plaguing your dictionaries for years to come.

12. Sugababes – No Can Do
Fabulous track from a fabulous album, the Babes’ sassiest release in years.

11. Santogold – L.E.S. Artistes
Hipster’s delight, mashing genres and crunchy beats. Where’s my skull necklace?

10. Namie Amuro – WHAT A FEELING
Spine-tingling electro reinterpretation, still paving the way for J-Pop.

9. Danity Kane – Damaged
Do, do you, got a first aid kit handy?

8. Sam Sparro – Black & Gold
Slow burning electro gold, never truly grows old.

7. Radiohead – Reckoner
Chanting bliss, especially within the middle eight.

6. Moby – Disco Lies
Purest dance, shame about the video.

5. Kaskade – Move For Me

Easily the finest trance track of the year, Kaskade’s “Move For Me” remains as gorgeously ethereal as it did upon the very first play. Late night synth sounds elevate the track into intergalactic proportions, while breathy, world-weary vocals weave disillusionment in between the beats: “Where do we come from? / Do I know your name? / Doesn’t really matter / In this life, we’re all the same.” Luscious! To this day, my post about the track is still the most searched track of the entire blog…Now that’s saying something.

In five words: Crying at the discotheque.

4. Kylie Minogue – The One

“The One” is, without question, the highlight of Kylie Minogue‘s 2007 album, X. A classic, timeless moment of New Wave warmth and echoey ooh’s and aah’s, the single is the epitome of electro-pop perfection. And despite initial disappointment upon learning the track had already been semi-formed in 2006 under a different artist, its initial impact remains unscathed. In the greatest pop injustice of 2008, “The One” saw a digital release in only a scattering of territories, a phoned-in kaleidoscopic video, and a scrapped-last-minute physical release, completely and utterly gutting the track’s full potential. It will remain one of Minogue’s greatest missed opportunities…We will never forget!

In four words: Love me, love me.

3. Lady Gaga – Just Dance

Prior to the release of the Girls Aloud and Britney albums, Gaga’s debut single was determined to remain my number one track for the year. As simple as it is instant, “Just Dance” was responsible for ushering in a torrent of artist requests for Lady Gaga’s writing skills and RedOne’s electro beats, “Just Dance” is a thoroughly crafted work of chiseled pop perfection. Through and through, the song is solid. I believe I’ve said it before, but “Just Dance” is the first track in years that has given me the “Since U Been Gone” effect–That instant vibe that a track is about to be colossal. Though its rather annoying that the song is only now climbing the Top 10 and gaining national attention (as it was originally released in April), it is a deserved amount of recognition nonetheless.

In three words: Dance all night.

2. Girls Aloud – The Loving Kind

In the Girls’ most tender track to date, this dream team collaboration with the Pet Shop Boys is truly the stuff of dreams (that glitter!). Five seconds short of being a four minute masterpiece, “The Loving Kind” is 2008′s “The One”: A timeless synth stomper intermixed with lyrics of longing. There are dozens of moments of brilliance interspersed throughout the track, though nothing will top Nicola’s show-stealing shouting bits in between the choruses. And sure, they can’t sing it live yet, but give the gals some time…After all, Perfection always takes some practice.

In two words: Love me.

1. Britney Spears – Circus

In her finest moment since 2004′s “Toxic,” Britney Spears takes back the reigns as the true ringmaster of this circus in this whip crackin’, adrenaline packin’, booty smacking stomp fest. “Circus” has already proved to be a massive smash, landing #3 on the singles charts despite establishing a formal release date. Seriously, this is a fully functioning performance piece, bursting with energy, sound, and movement. Was I influenced after having seen this go down live? Probably, but this isn’t getting old for me, and I sure don’t see it running its course anytime soon. Run that ship tight, bitch!

In one word: Perfection.

DL: Kaskade – Move For Me (Mediafire)
DL: Kylie Minogue – The One (Freemasons Vocal Club Mix) (Mediafire)
DL: Lady Gaga – Just Dance (Mediafire)
DL: Girls Aloud – The Loving Kind (Video Mix)
DL: Britney Spears – Circus (Junior Vasquez Remix Edit) (Mediafire)

2008 was, in retrospect, a fabulous year for all things music. Madonna took a moment from rescuing babies to focus upon saving the world with her vagina in just under four minutes. Icons of the dance world including Grace Jones, Cyndi Lauper, and Donna Summer dusted off their aging vaginas to step out onto the floor again. And a certain vagina-bearing Princess of Pop went from being wheeled out on a gurney in January to being seated atop the music charts in December with a number one album in one final, glorious display of total domination.

Now that I think of it, this was the year of comebacks…Vagina style.

Now, in order to weed out the Best of the Best of 2008, I gave a scroll or two across my monthly playlists from the year with some considerable consideration. When all was said and done, I was left with a list of exactly fifty albums. Taking this as a sign from above (or below, depending on how you interpret this list), I then took the liberty of re-arranging the extensive set of albums (copy-pasting myself into oblivion) until I was in semi-agreement with the end result. Even now, I keep making switches, and I can’t say for sure what separates an album’s genius when we start considering a #36 best from a #42 best album, so let’s just pretend that this thing’s been carved with stone cold confidence, mmkay?

And now, I humbly present the fruits of my labor. In all honesty, there were too many albums that could have made a case for being placed in the Top Ten. It was a near impossible task!

50. Girl Talk – Feed The Animals
49. Khia – Nasti Muzik
48. Koda Kumi – Kingdom
47. Bitter:Sweet – Drama
46. BoA – The Face
45. Britta Persson – Kill Hollywood Me
44. Electrocute – On The Beat EP
43. Sonny J – Disastro
42. Ferry Corsten – Twice In A Blue Moon
41. Ayumi Hamasaki – GUILTY
40. Donna Summer – Crayons
39. t.A.T.u. – Happy Smiles
38. Alesha Dixon – The Alesha Show
37. Amanda Palmer – Who Killed Amanda Palmer?
36. Emiliana Torrini – Me & Armini
35. Rachael Yamagata – Elephants…Teeth Sinking Into Heart
34. Get Well Soon – Rest Now Weary Head, You Will Get Well Soon
33. Zeigeist – The Jade Motel
32. Ashlee Simpson – Bittersweet World
31. Empire of the Sun – Walking On A Dream
30. Janet Jackson – Discipline
29. Ami Suzuki – Supreme Show
28. Myl̬ne Farmer РPoint De Suture
27. Utada Hikaru – Heart Station
26. Sneaky Sound System – 2
25. Oceanlab – Sirens of the Sea
24. Sigur Rós – Með suð í eyrum við spilum endalaust
23. Lykke Li – Youth Novels
22. Sia – Some People Have Real Problems
21. Hercules & Love Affair – Hercules & Love Affair
20. M83 – Saturdays=Youth
19. Michelle Williams – Unexpected
18. Cyndi Lauper – Bring Ya To The Brink
17. Kaskade – Strobelite Seduction
16. Danity Kane – Welcome To The Dollhouse
15. Will Young – Let It Go
14. Sam Sparro – Sam Sparro
13. Charlotte Sometimes – Waves & The Both Of Us
12. Alanis Morissette – Flavors of Entanglement
11. Grace Jones – Hurricane

Squeezing in…

10. Moby – Last Night
09. Lady Gaga – The Fame
08. Janelle Monáe – Metropolis: The Chase Suite
07. Goldfrapp – Seventh Tree
06. Santogold – Santogold

5. Madonna – Hard Candy

Frankly, the Queen is lucky to be hanging on to the Top 5. After crafting perhaps the definitive dance record of the decade, 2005′s Confessions on A Dancefloor, expectations for her follow-up release were at an understanble, impossible height. So, when Hard Candy finally hit the airwaves, devout Madonnaholics instantly began to fume with a nearly unanimous view: She’s trying too hard! Incorporating Justin Timberlake, Timbaland, and a slew of inappropriately childish lyrics (“Watch my booty get down, like uh!”), Her Madgesty seemed doubtful of her own relevance, the ultimate misstep for the Queen. As a result, instead of setting the standards of Pop in 2008, Madonna followed through the motions, producing an album that could have come from the post-2006 Nelly Furtado, Chris Brown, or any other Timba-concocted personality in the late ’00′s.

All this being said however, the album is still, for all intents and purposes, quite good. It’s failings merely lie in the fact that it is a Madonna album. If we peel away the expectations that come with the superstar, the songs within the candy-coated album become plenty sweet for the rest of us. “Candy Shop” remains one of my tiny delights, along with “She’s Not Me,” and “Give It 2 Me,” the brief Dance Dance Revolution exercise in synth-inspired mindlessness. The real saving grace lies in the album’s ballads, including the epic “Miles Away” (which is denied the title of perfection as a result of that inexcusable human beat-boxing from Timbaland in the background), and “Devil Wouldn’t Recognize You,” a mature crafting of contemplative, brooding dark pop.

4. Annie – Don’t Stop

I know. Stop me–This isn’t an actual album. Several weeks before the album’s original release date of October 12, Don’t Stop leaked onto the net, resulting in Island Records’ decision to push the release back all the way until April 2009 in search of fresh promotional tactics. Annie is now trying to push her brilliant cover of Stacey Q‘s “Two of Hearts” as a single, while the future of Don’t Stop remains entirely dubious. If the album does manage to see the light of day next year, it may very well end up topping the Top 10 charts for that year as well. If not, it will surely become one of the greater Pop Injustices of the decade.

Don’t Stop is a delicious merger of just-below-the-radar, indie-rock influence and sugary sweet, bubble pop confection. Including the much adored, relentlessly catchy lead single “I Know UR Girlfriend Hates Me,” every track is a potential hit for the Norway songstress, including the frenetic brag fest “My Love Is Better” and the warm sensual surges of “Take You Home.” Then there’s “Song’s Remind Me Of You,” a work in progress that has topped the wishlists of Pop Enthusiasts everywhere over the past few years as the highly anticipated, highly mysterious Richard X-produced single proclaimed as perfection by PopJustice. The anticipation was far too great for the song to perform to those expectations, though it does remain one of the best tracks of the year…Hands down.

3. Sugababes – Catfights And Spotlights

If this list were to be judged solely on cohesiveness, the Babes would take all. Sadly it is not, and I cannot in good mind place their release any higher. S&C is an astonishingly understated album, performing only moderately well on the charts before slipping fast into the depths.

The title may have been the first to throw the critics. To this day, Catfights And Spotlights still does nothing in relationship to the content of the album. It’s a title better saved for a future Aloud album, I’d say. The second misleading choice was the lead single, “Girls,” a horn-happy looper of a track that, when experienced on its own, grows irritating after only three or four listens.

Yet by and large, those still willing to give the Babes a chance found themselves delightfully suprised by the outcome: A powerhouse of swinging ’60′s sound, heartbreaking melodies, and clever lyricism, the album not only trumps anything the Babes have ever released in the past five years, but a vast majority of this year’s releases. To this day, it remains a vital installation within my playlists. Congratulations Amelle, you’ve done something quite right for the Sugababes.

2. Girls Aloud – Out Of Control
I’ll admit, the ordering of the top three was a bit daunting, but I’m going to stick to my guns here. Out Of Control, like every release from the Aloud since What Would The Neighbours Say?, is an unstoppable hits-friendly collection of up-tempo club bangers and tongue-in-cheek, chic stilleto pop. The Girls continue to provide as much glamour and glitz as possible within their fifth release, while managing to inject some versatility (stronger solos for Nicola and Kimba, farm sounds, and country music!), as well as the powerhouse production that remains purely Aloud. With “Untouchable” alone, Girls Aloud have now raised their own bar of quality for 2009.

1. Britney Spears – Circus

My feelings for Circus have been expressed best in my review, and remain entirely unchanged. As a result, there’s very little left to say: Circus is packed with insatiably addictive dance numbers, silly up-tempo sing-a-longs, and borderline cheese ballads that the singer continues to command throughout her entire career. If we cam take nothing else from the album, the title track’s perfection alone merits its position atop the Top 10.

This is a true Britney Spears album, recorded by the biggest name in Pop of our time. It is with this release that Spears returns to her prime, her glory, or whatever you’d like to call it. And while the album cannot be considered purely perfection, the statement it makes can: Pop is back, and Britney Spears is here to stay.

In no particular, I have chosen Track #6 from each of the Top 5 Albums.
…Okay, so I made sure that Track Six happened to be fairly epic across the board.
Unknown Pop truth? Perhaps.

DL: Madonna – She’s Not Me
DL: Annie – I Can’t Let Go
DL: Sugababes – Unbreakable Heart
DL: Girls Aloud – Untouchable
DL: Britney Spears – If U Seek Amy

Sam Spiegel (perhaps better known as Squeak E. Clean) is, as we all may soon come to realize, the devil. One needs only briefly look over the exhaustive list of indie darlings and pop culture icons (including Karen O, Nina Persson, Lovefoxxx, Tom Waits, and Ghostface Killah) set to lay down their vocals upon his killer debut album, The Spirit of Apollo, in February 2009 to know that for sure. The only explanation of this impossible gathering of talent is dark magick, leading to what will surely become a downward spiral of hellfire and damnation upon the Earth, at last leading us all unto the End Of Days.

But until that day, we’ve got one new track from the release called “Gifted,” which benefits from the assistance of Kanye West on the first verse, Santogold on the second, and Lykke Li in the choruses. A hipster’s wet dream? You bet your sweet girly ass jeans it is. Yet with its uber-slick synthesized production and bouncy, bubbly bass, the Apocalypse has never sounded so sweet.

DL: N.A.S.A. – Gifted ft. Kanye West, Santogold, and Lykke Li

Just one long day ago, I headed off to Central Park to watch Ms. Santi Santogold White perform at SummerStage. I took some time in advance to brace myself for the sheer volume of gun necklaces, desert scarves, and neon-glow, retro eighties wear directly off the shelves of the local Urban Outfitters, but the heat made it so that even the most hipster-ish of hips couldn’t bare the thought of those skin-tight jeans.

The show started at three, though the anticipated headliner didn’t take the stage until around six. To fill the void, a cast of DJ’s and MC’s including Diplo (rather attractive in person), A-Trak, Kid Cudi and Blaqstarr blasted beats for three whole hours. I don’t remember much of it after the first hour, mainly due to Blaqqstar’s every-other-minute repetition of “Get it, Shawty! Where all the hot ladies at NYC?” and a general tickling feeling all throughout my palms and feet. I’m not sure why all the hot ladies weren’t representing (perhaps there was some fronting going on), but I kept praying that one of them would just answer that obnoxious, obnoxious man’s calling for sanity’s sake.

It was miserably hot, and I must have lost around eight pounds through my pores alone. But alas, like anyone who knows me can attest to, I remained stoic. Just as I began to turn to my friends to say, “Fuck you all, I’m leaving,” Santi’s emotionless, Ray-Ban donning dancer/singers arrived on stage, staring down the crowd in preparation for Santogold. I think that was about when I decided to stick it out. Lacking a grand entrance or exit, Santogold walked out onto stage and began her hard-hitting offering of the Santi experience.

Within moments, she zoomed through “You’ll Find A Way (Switch & Sinden Remix)” which I personally thought was her best performance of the afternoon. Call me a sucker for dramatics, but I absolutely loved the fierce little dance breaks between the “run for cover” chorus skip that drones on like an damning, industrial machine gun.

She quickly plowed through “L.E.S. Artistes” and “Say Aha,” and then opted to take down the BPM a bit for “Anne,” which was a curiously tame choice to me. “Shove It” was next, and was just as punchy as I hoped it would be live; a real kiss-off bout of attitude that the crowd seemed to gobble up as much as she did. As a person, Santogold seemed rather genuine on stage, so it felt good to watch her giggle to the crowd and jump around. From there she continued onto a downbeat streak with the Brooklyn anthem “Unstoppable” and “Starstruck,” her lusciously crawling seducer.

By this point the crowd was still eager to move, though evidently a bit fatigued at that point. “Don’t do an encore,” she laughed to the crowd before starting the final track, “because I seriously don’t have any other songs.” With one final pull for energy from the audience, Santi and crew went into full celebration mode to launch her final hands-in-the-air grinding groove, “Creator,” as the show came to a close as quickly as it had opened.

And so, that was that. It felt like twenty minutes, and I think it actually was. Looking back, I guess no one could be mad that the show flew by so quickly. She essentially performed her entire album, save about three tracks. Santi announced that she’ll be on tour with Coldplay next, which may sound strange until you remember that it was Björk who invited her on tour last year.

To the top right is an ultra high quality photograph of the performance. To the top left, a sassy photograph. I’ve circled the Santi in red in case you can’t quite locate her there. Yes, I was that close. Jealous?