Maybe you’re a freshman looking for your first shot at college love, or maybe you’re a McCormick senior looking to kiss a girl for the first time – in either case, it’s difficult finding the right place on campus where you can meet a potential romantic partner. However, in efforts to increase the sad amounts of love and lovin’ on the Northwestern campus, Sherman Ave has put together a guide to which Northwestern locations are love-friendly.
Deering Library
Nope.
So it’s sex week again, and while those with sex lives (or just lives in general) are out getting some, those of us who write for Sherman Ave aren’t as fortunate are with the only thing that’s ever loved us – videogames. So while I sit in my hallway, trying to not hear the sounds of my roommate’s passionate encounters, I couldn’t help but think of the top six Pokémon that make me wanna use the moves “Harden” and “Pound.”
1. Ditto
“I want it that way.” With Ditto, that phrase is not just the name of a song by the Backstreet Boys. Much like Burger King, Ditto lets you have it your way. Ditto can transform into anyone you want – Jennifer Lawrence, that hot girl in your bio class, your Russian Lit TA, Jennifer Lawrence…the possibilities are endless. Fantasies could be fulfilled. Plus, doing it would be less gross, because it wouldn’t seem like you were doing it with a Pokémon. Which, when you think about it, is pretty weird.
Good idea, or great idea?
2. Jynx
Often referred to as being ‘hotter than Moltres, but in a different way.’ Alternatively known as ‘that one Pokémon that’s kinda racist.’ Really the only Pokémon that is blatantly supposed to look like a trashy ‘lady of the night.’ Also the only one given boobs for no apparent reason. Considering that “Kiss” is one of its moves, as well as “Lick,” its ready for anything. It’s not designed to look like a seductress for nothing. It just wants you to go ahead and ‘Cubone’ it. Come on. Its not weird to admit you’ve thought about it. Okay, it is weird, but not that weird.
I threw a wish in the well, Don’t ask me I’ll never tell: She opens the song by establishing that she has no control over the situation. The act of throwing a wish in a well is an act of desperation and one that betrays her inability to influence her position. Yet establishing that she’ll never tell what it was for gives her some degree of control, if only in her mind.
I looked at you as it fell, And now you’re in my way: Carly Rae then turns the focus away from herself momentarily as she acknowledges that her wish-throwing was meant to have an impact on some unknown “you.” Saying that this person is in her way puts the onus on them to act and serves to deflect attention from her actions.
I trade my soul for a wish, Pennies and dimes for a kiss: For the first time, we get a glimpse into the romantic motivations for Carly Rae’s wish-throwing. She first admits she’d give up her soul for the wish she had thrown, yet quickly clarifies to say she’d pay some loose change to lock lips with “you.” Now it becomes clear that she is wishing for a kiss and that the wish was really more than the seemingly urbane act of tossing coins in a well to symbolize wishing.
I wasn’t looking for this, But now you’re in my way: Once again, Carly Rae tries to make herself more of a bystander by saying she wasn’t looking for this and that this mystery person is once again in her way. This implies that the attraction is present but that she perhaps wants him gone as well. This line is crucial in understanding the complexity of the relationship.
Your stare was holding, Ripped jeans, Skin was showing, Hot night, Wind was blowing: We are finally given some clues about the environment in which this all takes place. She’s clearly outside on a warm, summer night. There is some minimal sexualization of the subject as she acknowledges his stare and that one of the two figures was showing their skin through ripped jeans.
Where you think you’re going baby?: Here Carly Rae finally gets down to business. No longer is she alluding to vague wishes; instead, she effectively tells the subject not to go anywhere and clarifies that she views him romantically by calling him “baby.” This line is notable for the subtlety it employs to let the boy know that she is interested in him without directly saying anything so crude.
Hey I just met you, And this is crazy: Having already sexualized the situation, she takes it a step further by offering up a salacious line clearly intended to conjure images of a gas station bathroom hookup fueled by nothing more than reaching for the same Toblerone at the checkout counter. So crazy.
But here’s my number, So call me maybe: Yet Jepsen brings the tension right back down by introducing the innocent element of a number swap. She also reveals her personal insecurities by including a “maybe” at the end to create an air of aloofness. She put herself in a vulnerable position by offering her number, and this theme of an insecure teenager will resonate throughout the song.
It’s hard to look right at you baby: Does anyone have any idea what the fuck this is about? Other than getting the word “baby” in here to rhyme with “maybe?”
But here’s my number, So call me maybe: By repeating this line in the chorus, Carly Rae makes it clear that it is up to him to call her if he has any interest in furthering their relationship. It’s as if she’s trying to pretend that despite everything she’s said, she doesn’t really care whether he calls or not.
Carly Rae, searching for a better word to rhyme with "baby"
Hey I just met you, And this is crazy, But here’s my number, So call me maybe: Catchy as shit, amirite?
And all the other boys, Try to chase me: Here Carly Rae just takes her insecurities to another level. She has clearly become nervous that maybe he won’t call her, so she tries to increase her worth in his eyes by informing him that many other boys consider her a prize. This is an attempt to make him jealous while reminding him that “maybe” he should call her.
But here’s my number, So call me maybe: By immediately transitioning back to this line, she draws a contrast between the other boys and the object of her attention. Jepsen tells him that he has privileged status in her opinion and does not have to chase her. This is at once a desperate and bold move by Carly Rae that really puts her in a position of vulnerability if he maybe rejects her.
You took your time with the call, I took no time with the fall: Jepsen finally acknowledges the subtlety she’s been hinting at from the beginning: that the boy in this story is in a position of power because she is clearly more interested in him than he is in her. She openly states that she fell for him immediately, but you can sense her pain and anguish in the fact that he waited to call her.
You gave me nothing at all, But still you’re in my way: She now cleverly moves once again to blame him for her agony. Rather than saying that she got carried away, she accuses him of not giving her anything yet simultaneously acts as if he chose the situation by saying he was in her way. Suddenly she is transformed from the over-eager number-giver to an innocent girl who has been hindered and given nothing in return.
I beg and borrow and steal, At first sight and it’s real: The previous line makes much more sense when taken in the context of this startling admission of criminal guilt. Jepsen had to shift the blame to the man to justify her crazed stealing fetish. She also alludes to love (the “it” in this line) to try to rationalize her robberies in a two-pronged approach.
I didn’t know I would feel it, But it’s in my way: Having shifted from blaming the boy to blaming love in the previous line, Carly Rae now continues blaming love by claiming that amorous passion is actually what’s in her way. She claims to be surprised by the whole encounter as well, as if to say that she in no way planned her actions.
Your stare was holding, Ripped jeans, Skin was showing, Hot night, Wind was blowing, Where you think you’re going baby?: Shit was getting real. About time to lighten the mood with a little repetish.
Hey I just met you, And this is crazy, But here’s my number, So call me maybe, It’s hard to look right at you baby, But here’s my number, So call me maybe: I literally cannot not dance to this shit.
Before you came into my life, I missed you so bad: This is either the most beautiful or most idiotic line of the song. Regardless, her point is clear: until she saw his hair blowin’ in the hot night wind, her life was incomplete. This successfully takes him from a mere object of lust to the love of her life to such a degree that any time spent without him was a time of despair.
I missed you so bad, I missed you so so bad, Before you came into my life, I missed you so bad, And you should know that, I missed you so so bad bad bad bad….: She feels this way very much. And is apparently quite proud of herself for thinking of this.
It’s hard to look right at you baby, But here’s my number, So call me maybe: In case you missed it before.
Still hasn't fucking called.
Hey I just met you, And this is crazy, But here’s my number, So call me maybe, And all the other boys, Try to chase me, But here’s my number, So call me maybe: Jepsen reverts to her comfort zone by repeating the chorus again here, but it is notable that she chooses to emphasize in her final chorus that other boys continue to try and chase her. She seems still unsure that he will call her and is desperate to make herself seem as desirable as possible in the waning moments of the song.
Before you came into my life, I missed you so bad, I missed you so bad, I missed you so so bad, Before you came into my life, I missed you so bad, And you should know that: Jepsen is practically begging for the call at this point. She repeats incoherently her assertion that her life was nothing before she met this rando. She uses “so” multiple times to convey all her emotion. She even says he should know this, as if it is vital information to his pending decision about calling her.
So call me maybe: After all that, Carly Rae just can’t help herself. One last time she tries to pretend this is all casual, that the encounter meant next to nothing to her. But we all know the truth. We know how much she missed him before he came into her life. He can’t just “maybe” call her; he must call her. They must become betrothed. They must have offspring. This is not a choice, it is a destiny. And it is glorious.
Maybe.
Avoid Canadian rioters at all cost.
So it’s a Saturday night. You’ve been nursing many-a-can of PBR over the course of the night. You see a lovely looking potential lover across the Keg dance floor right behind the stripper pole. They shoot you an inviting stare with their glazed eyes. This is it: You’re about to engage in a forgettable night of passion with your sweetheart and only your 200 closest friends, acquaintances, and Keg bouncers looking on. Here are some things to avoid in order to make sure your venture into the mouth of another person goes swimmingly.
5. Attempt to Check Your Phone
Judging by the fact that you’re reading about making out online, chances are you do not have anyone deep inside your mouth very often. So because this is a very rare occasion, you should probably take some time to appreciate it and maybe stay off your phone for a few minutes (because God knows how long this person is going to tolerate you slipping your tongue towards their esophagus). I know that you’re excited to get that text from your mom about the new Zelda game arriving — and you should be, it’s bomb as fuck; however, you can probably wait until after you’ve completed your mastication of another human being’s mouth before you find out when you’ll be able to fight the Demon Lord, Ghirahim.
Mind if I suck your neck until small blood vessels burst under your skin?
4. Maul Your Significant Other’s Neck
Since we’re on the subject of consumption, I must advise that you control your primal urges and do not eat your partner’s neck. Maybe you watch a lot of Twilight(in which case, you may want to evaluate how you spend your time before you make any physical contact with another human being again), or maybe you just thought it was a good idea to experiment with bear mating rituals. Either way, stop. After their heinous encounter with you, people should not question if your lover has been viciously mauled by a carnivorous animal. I know you might be hungry, and her neck may smell good, but please don’t unhinge your jaw and latch onto her. You’re doing both of you a favor.
3. Moan
A make-out session is no time to unleash the walrus groan you’ve been practicing. There’s no bigger turn-off than releasing a passionate whimper or wanton squeal on an unsuspecting person. Save those noises for your self-gratification time when nobody else has to hear them — except for everyone around you in the SPAC showers.
2. Get Handsy
Listen guys, I know you’re excited. You’re kissing a real girl with real boobs and everything. Your parents are very proud of you, as am I. Now saying that, keep your goddamn hands to yourself. Since you first discovered those magical things attached to the front of the females body, you’ve probably desired nothing more than to go to Boobtown. However, Boobtown is a gated-neighborhood and you’re only allowed in by invitation — so just calm yourself and enjoy the fact that a person with those mystical possessions has let you anywhere near them.
"Oh boy, I sure hope you look this good when I'm sober!"
1. Talk
This goes for all people. There is only one thing that can ruin a perfectly good drunken hook-up: words coming out of your mouth. Nobody cares that this is your first time making out with someone on top of a hay bale, or that your ex-boyfriend never once looked you in the eyes when you kissed. You keep those sad little details to yourself. Remember, you are nothing more than a body with a mouth to your partner in primal satisfaction. Your feelings and thoughts mean as much to them as Rebecca Black’s new songs mean to the situation in Libya (I still love you RB).
Follow this advice and you too can have a beautifully heinous night of animalistic pleasure.
Sherman Ave 