People all over the world are engaging with popular music, particularly through social media platforms, where views are often in the billions and climbing. Sacks (2007), a world-renowned neurologist, coined the term "earworms" to refer to songs that play repetitively in one's head for no apparent reason, sometimes for days, even years, on end (p. 45). This phenomenon fascinates Sacks because earworms can reveal secrets of the subconscious mind, leaving individuals with no control over the parasitic melodies that burrow in, when they do so, and/or when they leave. To Sacks, earworms are usually stereotyped and invariant in character. They tend to have a certain life expectancy, going full blast for hours or days and then dying away, apart from occasional after-spurts. Even when they have apparently faded, they tend to lie in wait; a heightened sensitivity remains, so that a noise, an association, a reference to them is apt to set them off again, sometimes years later. The author makes a case for teaching artists' need to cultivate relevant earworms for young people. Earworms that are more than hooks and beats, earworms that transition from the auditory into the physical realm as both progressive and capable of social change. What is unique about the exoskeleton as a form is the integration of song with musical arrangement, choreography, dance, visual arts, installation, improvisation, original writing, and acting.