In 1995, Jeff Rosenstock began playing with Joe Werfelman together and started The Arrogant Sons of Bitches. By 1996, the two had spent time writing and finding members for their band. At this time they recorded The Arrogant Sons of Bitches Demo Tape on tape but never released it. At this time they also began playing shows in their friends' basements and bedrooms.
Patric Santiago and Chris Valentino joined the band and the Greatest Hits Tape (1996) was made to play the Rockfest, at a local church. They were denied and instead played a show in Jeff Rosenberg's backyard with members of Taking Back Sunday, Bomb the Music Industry!, The Matt Kurz One, and Sevenwiser.
In 1997, Chris Baltrus joined playing bass and Joe Vazquez to play drums after Patric Santiago left the band because of a conflict with other members of the band who break into his house to get amplifiers. His parents were furious and forced him to quit.
In 1998, Joe Vazquez was replaced with Bryan Cohen and ASOB records the Integrity Tape in Joe's garage. Dave Dickerman joined on trombone and Bryan Cohen left the band. They began playing places like Q-Zar, Scotty Dee's Coffee Shop, and an outdoor festival with Post-Emo Indie Rock innovators, Inside. John DeDomenici then stepped in on drums and the band began planning their first album. They payed $1000 for 12 songs.
Mike Costa replaced John DeDomenici on drums. They recorded Built to Fail which was planned to be released by Zach and Breaking the Law Records, however, due to conflicts the band decided to self release it.
In 1999, ASOB started branching out, playing shows with Channel 59, Sprout, Microwave Orphans, Who Cares, WCF, Edna's Goldfish, Catch 22, The Toasters, and Step Lively. Arty's Taxi's member, Eric Bucello who plays the trumpet, and subsequently joined the band. In August, the band recorded "Fuck You" for a Runaway Records compilation with the Jestrebzki Family. They also started work on their new full-length, Pornocracy.
By 2000, the band entered the studio and finished up in June. It featured JT from Sprout. Soon after, Chris Baltrus left the band for college and Joe Bove from Arty's Taxi joined. They played a CD release show with Racecar Breakup.
In 2001 ASOB recorded "Built to Fail Motherfucker" for a compilation and began touring that summer. Many members quit and the remnants of ASOB played a show in upstate New York on a driving range with a new band featuring members of Shabooti. Joe Rosenstock stated to his girlfriend, "If this band ever gets big, I want you to kill me." The band ended up being Coheed and Cambria.
Rosenstock began writing new material and was to open a show for Thursday, but it fell through. A new roster was drawn up that included Tim Ruggeri (Channel 59/WCF/Tall Hannds), Jon Rossman (Everyone Else), and Chris Taylor but this also fell through. Mike, Baltrus, Dave, and a few members of the High School Football Heroes and Premarital Sax play with ASOB.
In 2002, ASOB tried to re-record Built to Fail unsuccessfully. They recorded an Arrogant Sons of Bitches 7'' that was never released. They did a CD release show for All the Little Ones Are Rotting and played a battle of the bands at The Downtown winning fourth place. They landed a deal with Kill Normal Records. They also played a Halloween show and did ska covers of Taking Back Sunday songs.
A year later, in 2003, ASOB re-released their EP with videos, a live set, and much more. They opened for Bowling for Soup and Count the Stars. They toured out to the west coast, and JT from Sprout joined full time. They played outside of the Idaho Warped Tour, and the next day played inside a hip-hop tent electrically. They stayed on Warped Tour and played to 3000 people in New York. Joe Werfelman was kicked out of the band.
Three Cheers for Disappointment was finished being written and they recorded with AJ Quashee, but the recording didn't go well and was scrapped. Sean Qualls was auditioned on guitar. Joe Bove had a panic attack on stage and leaves bass, giving Sean the spot on bass.
Afterward, the band recorded some more and started working on releasing a "Complete Discography". The band later got on Streetlight Manifesto shows that feature Big D and the Kids Table.
The band finally began recording Three Cheers for Disappointment at Moontower Studios in Boston, Massachusettes with Steve Foote. After it was finished, the band booked a tour, ordered merch, talked to record labels, and replaced Sean Qualls with James Lynch on bass. The band took a break in September.
In October, The Arrogant Sons of Bitches played two last shows at Mr. Beery's - one all ages, one 18+. Shortly afterward, Jeff Rosenstock started Bomb the Music Industry!, Sean started Bashi-Bazouk, JT started his solo project, Mike Costa started his solo project and Dave registered to finally go to college.
In 2005, they finish Three Cheers for Disappointment and in 2006, the band plays three shows in the Northeast in support of it.
In 2007, they play their last show and officially break up.
In 2012, the Arrogant Sons of Bitches reunite for one last show at the Warsaw in Brooklyn, New York.
I've Got Enemies In High Places
The Arrogant Sons of Bitches Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
i've encoded all the lines of encryption i've been fed
stop, your f'ing superpowers aren't working
i won't suck you off to get something i want, i'll give up instead
so please stop thinking for me
start looking out for me
and just because i'm paranoid
you, awash in a sea of pretension
you've got names to drop and bands to cash in on in your underground
me, apparently music is none of my business
aesthetic disease and enemies in high places to keep me down
so please stop thinking for me
start looking out for me
and just because i'm paranoid
does not mean that your not after me
and i was never on the team
so don't try to play ball with me
don't think I give two shits what you think is best for me and my career
don't think I give two shits what you think is best for me and my career
because i don't
try to ignore me, but i'll be that scar that won't go away (yeah, yeah, yeah, yeah)
try to ignore me (yeah, yeah, go, go, go)
turn down the horns, or you can't be emotional (scream yeah)
my demeanor's inexplicable
cause the moment you expose your boredom we become expendable
and i'll defy your scene because your band is interchangeable
the image you've commodified is not your own
understand i'm doing something different because i'm capable
i do it cause i like it, and i like it cause you don't
so shut your mouth about it
no one wants to hear about it
if music's an artistic statement
than you don't have to speak for it
and i was never on the team
so don't try to play ball with me and
don't think i give two shits what you think is best for me and my career
don't think i give two shits what you think is best for me and my career
don't think i give two shits what you think is best for me and my career
don't think i give two shits what you think is best for me and my career
because i don't
The lyrics of "I've Got Enemies in High Places" by The Arrogant Sons of Bitches express the band's frustration with a music industry that is full of pretentious individuals who have an inflated sense of power and authority. The song speaks out against those who try to control and manipulate artists for their own gain, using their supposed knowledge and connections as a means of persuasion.
In the first verse, the singer is rejecting the idea of being controlled. They acknowledge that they have received certain instructions or advice but assert that they won't be swayed by forced flattery or empty promises. The refrain calls out to those who think they know what's best for the singer. The singer asserts that their paranoia is justified as they are aware of the actions of those with ulterior motives.
The second verse addresses the singer's position within the music industry, where they have been deemed unimportant because of their unconventional style. They express frustration at being dismissed and held back by the very people who claim to appreciate and sell music. The refrain is repeated, highlighting the singer's distrust of those who believe they are acting in their best interest.
Finally, the bridge of the song is an impassioned statement declaring that commercial interests do not control or define the music the band creates. The singer asserts that their art is separate from the commodification that has overtaken the industry. They urge those who seek to control them to remain silent and let the music speak for itself.
Overall, "I've Got Enemies in High Places" is a protest against the power dynamics present within the music industry. The Arrogant Sons of Bitches reject the idea that they need to cater to a certain audience or style to sell their music. Instead, they create for themselves and disregard the opinions of those who seek to influence them.
Line by Line Meaning
stop, because i know just what you're thinking
I'm aware of your thoughts and intentions
i've encoded all the lines of encryption i've been fed
I've learned from the information I've received and adapted accordingly
stop, your f'ing superpowers aren't working
Your perceived superiority and influence have no effect on me
i won't suck you off to get something i want, i'll give up instead
I'm not willing to compromise my values to satisfy your expectations or gain favor
so please stop thinking for me
Don't assume you know what's best for me
start looking out for me
Support me instead of trying to control me
and just because i'm paranoid
My skepticism and caution are not unfounded
does not mean that you're not after me
I suspect your intentions may not be pure
you, awash in a sea of pretension
You're drowning in your own arrogance and self-importance
you've got names to drop and bands to cash in on in your underground
You use your connections and influence to profit off of underground culture
me, apparently music is none of my business
I'm not interested in conforming to the expectations of the industry
aesthetic disease and enemies in high places to keep me down
Forces both inside and outside of the industry are trying to hinder my success
and i was never on the team
I've never subscribed to the rules and expectations of the industry
so don't try to play ball with me
Don't try to manipulate me or make me conform
don't think I give two shits what you think is best for me and my career
I don't care about your expectations or what you think is best for me
because i don't
My own desires and goals take priority
try to ignore me, but i'll be that scar that won't go away (yeah, yeah, yeah, yeah)
You may try to dismiss me, but the impact and influence of my work will remain
turn down the horns, or you can't be emotional (scream yeah)
Limiting and conforming to traditional expectations stifles creativity and emotion
my demeanor's inexplicable
My approach and style may not conform to expectations and cannot be easily classified
cause the moment you expose your boredom we become expendable
Once you start to lose interest, artists become disposable and replaceable
and i'll defy your scene because your band is interchangeable
I refuse to conform to the industry's expectations and conventions because they lack authenticity and creativity
the image you've commodified is not your own
The industry creates and sells a false image to profit off of artists
understand i'm doing something different because i'm capable
I'm capable of creating unique and original work that defies industry expectations
i do it cause i like it, and i like it cause you don't
I create work that I enjoy and that goes against the mainstream because it's authentic to me
so shut your mouth about it
Don't criticize or try to control me
no one wants to hear about it
Your opinions and expectations are not relevant or desired
if music's an artistic statement
Music has the potential to be a form of artistic expression
than you don't have to speak for it
Music should speak for itself and doesn't need to conform to industry expectations
Contributed by Luke M. Suggest a correction in the comments below.