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summerbreezeyy · 3 years

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Love, Huh? - Chapter 6

Finally today arrived. The day you were meeting Yixing. After the dinner with the Oh’s, you texted him you were free the next day, but he had to be in China for a family wedding for a week. You met Yixing back when your ex was finding businesses to invest in, and his club was one of them. You didn’t instantly become friends with him, other than the fact that your ex was super jealous, Yixing was kinda scary at first. He had this intimidating aura, even your ex agreed. But you got closer. In secret though.

For the past week, the boys have barely left you alone. They would try to arrange their schedule so at least one of them would be home. You know they have many friends, especially Chanyeol. Even Kyungsoo has his routine hangouts with his group. And Sehun who likes to drink outside. But lately they’ve just been at home a lot. You overheard Chanyeol couple days ago talking to his friend, “Sorry babe, a bit busy tonight, the comeback is near. But I’ll see you next week at the show okay?” or when you unintentionally and accidentally saw a text message on Kyungsoo’s phone from ‘Kwangsoo-hyung’ that read “We miss you Soo-ya. Hope you can come next time!” when both of them (plus the youngest) were schedule-less and spent the whole night at home drinking with Sehun’s newly bought whiskey.

When all of them had to leave altogether one day, they called and texted you (or facetime at the clingy maknae’s case) all day. You wanted to tell them that you were okay, and to be alone for a couple of hours is totally manageable. But you didn’t, knowing that they still felt guilty (when they shouldn’t have) they couldn’t be there when you needed them. So you let them, do things that would ease their minds.

You told them about your plan today, since they had to finish everything up for their next week’s comeback. Like expected, when you were getting ready to meet Yixing, you checked your phone to find a lot of texts already came in the group chat, the one they already had before they added you in.

Yeollie [10:16] :

Hey @you awake yet?

Se [11:03] :

Sleepyhead wake up

You [12:24] :

Sorry just checked my phone. Been awake since 10 you ass @Se

Almost ready to head out tho, leaving in about 15 minutes. So excitedd!

When are you guys coming home tonight? I was thinking of Ramyeon night?

Kyungsoo [12:26] :

We should be home at around 8 or 9 I think. Don’t wait for us to have dinner. Chanyeol would pick a movie for tonight, but if you’re tired you can go to sleep early. Have fun with your friend and be careful.

Yeollie [12:26] :

At 8!

Oh Soo answered that already lol :p

Have fun we miss youuu!

Wait I thought you were meeting him at 1?

Se [12:27] :

My ass is great, you just jealous

You [12:27] :

*you’re

@Yeollie always the sweetest! I miss you guys too! And this morning when Xing told me the address, turned out the café is just a couple blocks away, so I’m walking there!

@Kyungsoo yes sir!

Se [12:27] :

Hmm.. Kinky

You [12:27] :

Shut up, you’re the only kinky ass in this gc fool, my eyes are still suffering from what I saw

Se [12:28] :

…

Okay I’m shutting up

Yeollie [12:29] :

Ohh! Tell me! I wanna know!

You [12:29] :

If Sehun continued being a brat I would happily tell you :)

Kyungsoo [12:29] :

Back to actually important thing, you’re gonna walk there? Can’t he pick you up or just take a cab instead. It’s safer.

You [12:30] :

I think I could walk just fine, Soo. No need to be paranoid. I’m not dying or anything. Gonna keep annoying your asses for a long time so count on it!

Se [12:31] :

You’ve been saying ‘ass’ waaay too many times today. Didn’t know you’re an ass-kinda girl

You [12:31] :

Sehun, I’m thiiis close to type in what I saw 3 christmas ago in your room when both your hyungs were visiting their parents

By the way, aren’t you guys supposed to be working now?

Get off of your phones! If they fired you and you’re jobless who’s gonna feed me :(

Yeollie [12:32] :

I’m lunching and Soo’s at makeup and Sehun is messing around like usual, we’ll keep our job just fine and you’re gonna be eating good food for the rest of our life!

Oh and by the way, we’re watching Captain America tonight ! But like Soo said, if you’re tired you could just go to sleep!

And please Sehun, keep being annoying. I can’t wait for when she’s fed up with you and finally tell us your kinks.

Se [12:32] :

Yes mommy

@Yeollie interested much ???

You [12:32] :

Ooh, I see, another kink. I’ll keep that in mind, baby ;)

By the way @Yeollie I still find it weird you’re Team Cap but ordered Iron Man costume instead. And don’t worry. I can sense it’s close to when I finally do :)

But not complaining about the movie tho, I got to stare at Chris Evans’ face (and abs and arms) for 2 hours, I don’t even think I’m gonna be sleepy.

Se [12:33] :

Why are you only mean to me :(

He’s weird that’s why! Everyone who’s Team Cap is weird!

You [12:33] :

Faulty logic. You’re Team Iron Man but still the weirdest out of all of us

Yeollie [12:33]:

*online high-five*

And Team Cap rocks!

You [12:33] :

Preach!

Se [12:34] :

@Kyungsoo hyuuung help me they’re bullying me :(

Kyungsoo [12:34] :

Oh I didn’t tell you? I’m also Team Cap.

Se [12:34] :

HYUNG! HOW COULD YOU?

You [12:34] :

Should we change this gc name to ‘Cap’s bitches’?

[12:35] Yeollie changed group name to “Cap’s Bitches”

Se [12:35] :

HYUNG SERIOUSLY!

Kyungsoo [12:35] :

Jesus

At this point you were laughing close to tears. You continued eating your lunch, a text came in, from Kyungsoo.

Kyungsoo [12:37] :

Hey you had lunch yet?

You [12:37] :

Eating rn!

Kyungsoo [12:37] :

Good. Don’t forget your meds too

You [12:37] :

Yes daddy

Kyungsoo almost choked on his drink, that his makeup noona looked at him weird.

“Funny pic,” he half-assedly explained.

You [12:37] :

Wait that came out weird

Sorry lol

Kyungsoo [12:38] :

You should thank God this is not the gc

You [12:38] :

Sehun won’t let it go I know :)

Hell I think Chanyeol would also tease me about it

By the way I’m gonna head out shortly

Have a fun day at work! See you tonight! xx

Kyungsoo [12:39] :

See you, and be safe.

Leaving Kyungsoo and the group chat (that was just filled with Sehun’s whining at this point) on read, you finished your dishes and went back to your room to grab your bag. Picking up the phone you left on the counter, you saw the last messages on the group chat.

Se [12:44] :

I hate everyone

[12:45] Se changed group name to “im leaving the band”

A laugh came out from you. Finally things were starting to be normal again. Except of course the constant nagging and worries from them. But you found yourself liking it, that they care about you. And of course, it did feel nice to bicker with Sehun after so long.

“I miss your bratty ass,” you smiled mumbling to no one.

When you were checking out the chat, someone rang the doorbell. Weird, no one was supposed to come over.

You [12:45] :

Hey anyone expecting someone today?

I thought the cleaner was supposed to come tomorrow?

After the quick texts, they didn’t answer and the bell rung again. So you took a look at the peephole, and found the person you didn’t expect standing in front of the door.

“BAEKHYUN!” you exclaimed.

“GIRLIE I MISSED YOU!” he then proceeded to hug you.

“What are you doing here?!”

Baekhyun let you go before answering, “Your boyfriends told me you needed company today!”

Ah, of course. The boys.

“They told me to come last week too, but I was busy so I couldn’t. I was so sad I couldn’t see you earlier. It’s been sooooo long!!” he explained.

You hugged once again, indeed, missing him. Before the shitshow happened, he was one of your closest friends other than the EXO, the boys’ band. You then told him you were meeting Yixing and he was more than happy to come with you.

So you walked with him to Yixing’s café. He started to talk about the things you missed out about him, like how he became the million seller with his last album, the first Korean solo artist to do so in 19 years (yes go off king), and some of the guys he dated. He also mentioned his plan to collab with Kyungsoo again and how he had high hopes about it, since the first made him got a best friend in the latter and also in you and the two others.

It took him about 10 minutes before asking, “So what happened?”

“Bad relationship, and like usual, they were there to pick up my pieces,” you answered with a sincere smile.

Baekhyun didn’t pry. And that was really what he really need to know. That you were okay.

15 minutes of walking and you finally arrived. And you didn’t even have to enter the café to find Yixing, he was standing on the entrance looking down to his watch and phone. He only looked over when you called his name, and you launched into each other’s arms.

“I’m sorry,” he whispered as he held you.

“Again, not your fault, and never will be.” You stepped back from him and introduced him to the other person. “This is Baekhyun, and this is Yixing,” you said to both and Yixing offered his hand. Baekhyun zoned out for a minute before shaking the other’s hand.

“Come in! And choose your favorite treat please!” the tallest welcomed you in.

After choosing the mouthwatering red velvet cake and rose tea for yourself, all three of you were seated in one of the tables.

“So I never knew you had a café,” you said to Yixing.

“You know I’m a sweet tooth. Once I’ve saved enough, this happened,” he gestured the café. “Have you been okay?”

“Yes, how ‘bout you?”

“Me? I’m okay. Well not really. I’m drowning in debts cause I made a leap of faith when this lot became available couple of months ago, so,” he laughed.

You laughed with him too, “Your parents are rich, Xing. You need to worry about nothing.”

“Exactly why I’m not depressed about the debts,” he paused to take a sip of his drink. “Is this one of the guys you live with?” he asked pointing at the guy sitting next to you, currently head deep in his strawberry watermelon cake.

You chuckled seeing Baekhyun’s excitement eating the treat. “No. He’s their friend though. Mine too.”

Realizing he was being talked about, he looked sheepishly to the both of you. “Sorry, this is really good,” he talked with his mouth full.

“By the way, where do you live? You said it’s not far?” Yixing asked you. When you told him the name of the building, his eyes widen. “No way.”

“What?”

“I live there too!”

“No way.”

“Do you live there too?” Yixing asked Baekhyun this time.

“Sadly, no.”

All of you ended up talking about music, with Baekhyun giving songs recommendation for Yixing to play in his café, most of them are his songs though. Not that anyone complained, his songs are bombs. Baekhyun also asked about business things, turned out he was thinking about opening up a clothes store for his brand.

“Sorry I have to take this,” Baekhyun said when his phone rang, and he walked out of the café.

“Does he know?” Yixing asked once Baekhyun left.

“A little bit.”

“The other guys?”

“They know.”

“Good. You need the support.” He paused again. “I’m really sorry though. I didn’t know it was that bad.”

“Like I’ve said over and over again, it is not your fault.”

“His mom called a couple days ago.”

Your breath hitched. “Why?”

“He’s been spiraling out of control.”

Your heart skipped a beat. “But why would she call you and not his friends?” They were friends yes, Yixing and your ex. But not that close.

“She asked my number around, knowing I know you, to ask me to tell you. She’s his mom but still a woman. She couldn’t ask you for this.”

“For what?”

“A call. To him.”

And this time you were sure you weren’t breathing. “What happened to him?” you asked him with your head hung low.

Yixing took your hand in his, “Drugs.”

Your head snapped up. “What?”

He took a deep breath before continuing to explain, “He did drug business behind my back at the club, another reason I closed it down other than the fact that all the investors left after what happened. And the police knew. That’s why they tried to push you into suing him, cause they don’t have enough proof to put him behind bars. He never used them before. But his mom told me he’s been doing it. And she begged me to let you know, to ask you to call him. Just once, to tell him to stop.”

Your head fell again, you were holding back tears. You were afraid, of him. You were afraid of what he did to you and also about what would happen to him.

“You don’t have to do it, not after what he did to you.”

“I… I’ll think about it,” you replied weakly.

“Don’t think too hard. I don’t agree with this too. I only told you because his mom literally begged me on her knees to let you know. But you don’t have to do anything you don’t want to, okay?”

You just nodded. When Baekhyun came back, you tried to fake a smile and masked your feelings. After about another hour, with promises of visiting in the future, you left. As both of you walked out of the café, you turned to your side to the guy who spent the last hour staring at your friend, “You know, he’s gay, he’s single, definitely ready to mingle, and I also noticed his interest in you” you watched his eyes twinkled, “Go get that dick,” you lightly smacked his bottom as he blushed and walked in once again to face the guy behind the cashier. You saw them pulling out their phones, clearly exchanging numbers. “Happy?” you asked as Baekhyun came out smiling wide.

“I just got myself a sugar daddy, of course I’m happy!”

“Oh don’t even try. He’s my sugar daddy.”

“Honey, you already have 3, you don’t need more.”

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stonedandstudying · 6 years

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Solo: A Movie Review

Ya know, Solo ended up being a little more of an interesting experience than I thought it would. There were highs, and lows, and hidden Easter Eggs for fans; John Powell's score was pretty solid, and the action sequences were fun. When it comes down to it for me, I am never going to see Harrison Ford in Alden Ehrenreich's, and you may call that nit-picking, but whatever. Aside from that you can tell Ehrenreich spent the time trying to bring Han's mannerisms, wit, smirks, and self-confidence into the role, and I can appreciate that effort.

The way Han and Chewy meet should be pleasing to fans as the premise didn't change from what has long been known about these characters' histories. Han, a member of the Imperial Navy, deserts with an enslaved Wookie, and up until now we only had comics and Extended Universe novels to see that play out. It was great seeing Chewy get so physical, but it should be no surprise either. If we're going to get chronological with this, the last time we have seen Chewy prior to Solo: A Star Wars Story was on the shoreline on Kashyyyk, at the end of Episode III. So not only do we know that he has no love for the Empire, but he's a proficient warrior as well.

I'll go into these two a little more if we talk about it on the show, but overall, I think the relationship between Han and Chewy developed in a believable and genuine way.

The other thing about Star Wars has always been the ability to personify inanimate objects, making them essential characters in the process. Anakin's Lightsaber, for example, which was tossed around, and anticlimactically destroyed in The Last Jedi —many Star Wars themes were destroyed in The Last Jedi— had been an important relic of in the franchise, since 1977. The Millennium Falcon is no different.

It is always great to see the Falcon because it never disappoints. It's always going to be that same nocked-coin shape; it's propulsion systems are always going to rev up with a familiar high squeal, resulting in a blast of bright blue plasma; and, like our favorite droids, will always be back at the end of the film, in good working order, no matter how beat up it gets along the way.

Which brings me to some of my lows:

L3, Lando's droid that won't shut up about Equal Rights for Robots.

Whoever programmed this droid to be such a stick in the mud was a sadistic son of a bitch. It's one thing to listen to an alien creature complain about being low man on the social totem pole; it's another thing to listen to a droid, whose personality was programmed into them, complain about droids being made to fight each other in cage combat. I was GIDDY when this thing got blown to bits, but nothing compared to watching Lando struggle to drag the torso of L3 across the battlefront as if it were a scene from Platoon —it read more like Tropic Thunder. And this is why C-3P0 and R2 were always kept firmly within the realm of comic relief—they're droids!

How many times as 3PO been torn limb from limb, only to return at the end of every episode, reassembled and shined up like new? As L3 and Lando had their Forrest Gump/Bubba Vietnam moment, was anyone else thinking to themselves...uh, just keep L3's head and you'll be able to get her all fixed up. I'm sitting there saying to myself, "What the fuck am I watching right now?" The kids sitting next to us were laughing, too.

Which brings me to my last point, for now—and it's not even really a "low":

Lando. Donald Glover did a fine job. I had always envisioned what those games of Sabacc between Lando and Han were like— the card games that lead to the Han and Chewy winning the Falcon. Lando's still the same style-obsession, self-assured swindler, and I loved it. But you now what? Aside from coming on to the gorgeous Emilia Clarke, Glover's character never showed more sexual interest in anything or anyone in the way he was interested in money and status.

Which leaves me to a new recurring Star Wars/Disney point:

Why on earth did Jonathan Kasdan say what he said about Lando's "pan-sexuality"? Why can't these people help themselves?

Before the release of Rogue One, writer, Chris Weitz, felt the need to get onto Twitter and draw lines of comparison between the Empire and White Supremacy and our newly election President, Donald Trump. He wanted people to go into the theaters paying special attention to how the Rebellion was a multicultural force, lead by strong womynz. So, naturally, people get pissed off and wary of the release, which is unfortunate because Solo wasn't anywhere near the cinematic disaster that was The Last Jedi. So, why are any of these Social Justice public service announcements necessary, or allowed? Why do they do this? It's a huge part of the reason why the franchise is going to continue to drop off and wither on the vine—the numbers on Solo and the mum reviews should be a telling sign in itself.

The reviews aren't even that bad, but there's just no juice for it... Perhaps if Disney had more than half of the people who gave life to Star Wars in the first place still on board, this would be a much different outcome?

To me, It's one thing to accept that Star Wars is controlled by Disney, which is controlled by a gaggle of progressives who can't allow themselves to create something for all people to enjoy. It comes through in their plot-lines, their characters arcs, their casting, and the promotion therein. It brings the conversation to a whole other level when they actually do a decent job (Solo & Rogue One) for fans and these freak-show writers still can't control themselves enough as to refrain from giving people viewing instructions when they watch the film.

Alright. Rant over. There's more to say but maybe we'll talk about this to close out a broadcast this week.

#star wars #solo #disney #Han Solo

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inkedangelhaz · 7 years

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Harry Styles Vanity Fair

The Vanity Fair interview is only available to read in Italian right now, so I decided to translate it so others (and myself) can read it too! I did change some of the wording to make it more understandable, because Google Translate isn’t always the best, but I didn’t change the meaning of anything that was said. You can read the original (in Italian) here !

Harry Styles: Vanity Fair Interview 2017

Harry Styles has grown, does not drink, and wants to become pescatarian. The only mystery: For whom did he write the songs? “For a woman in particular”, and he hopes she understands the dedication. All clear, Kendall?

The last thing that Harry Styles does before going to sleep every night is send an email with a list of what he needs to do the next day. “Even if it’s boring stuff, like 9 o'clock: coffee. If you don’t have a schedule sometimes you feel lost. I do find it a little hard to laze.” Perhaps it’s one of the side effects of the past six years with one of the most famous boybands of all time, One Direction, where every minute of their lives on tour was planned in detail. The world tours could last almost a year, and did not include only concerts in the stadiums: there was endless promo to be done during the day and recording in their “free time”.

One Direction: This Is Us – the documentary behind the scenes by Super Size Me director, Morgan Spurlock – had shown another member of the band, Zayn Malik, who was ripped mercilessly from his bed in the tour bus after only ten minutes of naptime to record a new song.

Instead it seems that Styles wallows in the discipline. “I adore routine,” he explains. “When you’re small it’s all programmed: waking up at a certain time, breakfast, school. And when it ends it’s hard to figure out what to do with yourself.” Maybe for him it was a way of keeping that part of youth tight. He was 16 years old when he had moved from Cheshire to London as one of many who hoped to succeed with X Factor. In 2010, Simon Cowell had chosen five teenagers who had failed to pass the solo audition to create a super group. Harry was soon to become the sexiest and most famous component of a group that in a short time had turned into the sexiest and most famous boyband in the world. According to the ranking of the richest people in the world this year, Styles has a heritage of 40 million pounds.

Today, at the age of 23, he is trying to become master of his universe. One Direction took an “indefinite break” last year and he spent the following months writing and recording his first solo album, and to play in his first film, Dunkirk, the epic war film of Christopher Nolan that will be released this summer. The album is titled ‘Harry Styles’ and was perhaps the most anticipated solo album since Robbie left Take That. The first single, Sign of the Times, a ballad of five and a half minutes, arrived at the top of the charts in 84 countries on the day of launch. And Harry Styles is number one in the United States, England, Ireland, Canada, Australia, Holland and Belgium, and second in Italy. It is the debut album of an English artist who sold more in America since Fimi/Nielsen began recording sales in 1991.

But I really figured out what made this guy when he called me out of nowhere, on a Friday afternoon, to arrange our interview.

“Hi, I’m Harry,” chirping a young voice. “Harry Chi?”, I say, thinking he’s a kid trying to sell me something from a call center. “Harry Styles. Do you have time to have lunch together next week?“ The “personal touch” is the brand of every true global superstar. Bono, Chris Martin and Taylor Swift know well what it means to bypass the bureaucracy of manager and PR to send a personal invitation. It is a gesture that sends many messages, from the most obvious – I am normal and approachable, and obviously I know how to use the phone – to the deepest: I am giving my time. After understanding that my agenda is quite empty, Harry proposes a date and one of his favorite downtown restaurants. Book him.

Three days later, I arrive at the restaurant and find that there are no reservations on behalf of Harry Styles (of course not, which megastar would book in his own name?). There is a table for someone with a similar name, but since I do not know, the waiter is reluctant to sit just me. Five minutes later, “Harry Spring” enters, and not only looks much like Harry Styles, but guarantees it for me. Harry proves adorable. Affectionate hugs and handshakes, thank you and please after every word. We sit down and after a second he stands up to help the waiter to bring water bottles.

He wears jeans, brown ankle boots, and a Hawaiian shirt, unbuttoned enough to take a look at his well-groomed chest and the endless tattoos he has on his breast and left arm. A pair of sunglasses on top of his head keeps his hair back. He has a crucifix on his neck and big silver rings on his fingers. Yes, he’s just beautiful: boyish face, expressive, gentle attitude, impeccable manners. But, without absolutely wanting to affect his reputation as a heartthrob, I am not sure that the desire to take him home is a wish. Rather, I wish he was my son. He has two phones: one is for private use (with the newborn goddaughter on the screensaver), the other is pink and he uses it to let me listen to his new album, which still had not come out when I met him. Although he is only 23 years old, he is already godfather of three children. Almost all his best friends, he explains, are older than him. “When I moved to London, I wanted to learn from people who could give me good advice.” At first his friendship with Radio 1 DJ, Nick Grimshaw, had unleashed gossip, although Styles denied being bisexual. Today, however, the assumptions about his private life revolve mainly around famous women.

He orders a Chicken Paillard and contemplates aloud the idea of becoming Pescatarian. “I did it for two weeks, as an experiment, but I think at some point I’ll try for more time.” Because? He thinks maybe “some discipline does well”. He is never critical of life with One Direction. “It is very difficult to complain, it was an incredible thing.” While he and the other members of the band are “on hiatus”, Malik is the only one who has officially left the group. Since then he has released to the press comments denigrating the band’s music and has also recorded a piece with Taylor Swift, the former girlfriend of Styles, for the soundtrack of the film Fifty Shades of Gray. Have you seen him lately? Silence. “Mmm, not much.” Have the reports cooled down? “No, I’m OK. I think we are happy for each other, the fact that we are doing things that we like and we get it.”

The smile emerges again as soon as I ask about others of the band. “We all work a lot, but we go out together.” When did you last talk to Simon Cowell? “Oh, recently.” He called after hearing the anticipated Sign of the Times. “He said he loved it and he was proud of me.” He stops. “Not that the last calls were not pleasant, but this time they did not have that nuance of, ‘this is the boss calling’, and it was beautiful.” He can’t wait to make me feel the album, but first I ask him why he wanted to try to work solo. “Sometimes you write songs where you want to tell the whole story,” he says. “In short, if you write a very personal song, it is difficult to give it in the hands of a band.”

What stories did he want to tell? He makes a grimace. He spent the last seven years revealing as little as possible of himself. The press interviews with One Direction rarely lasted more than ten minutes, with other members of the band behind which to hide. The current level of personal analysis is a novelty for him. “I really wanted it to be sincere, without changing words. Recording this album gave me one of the most beautiful times of my life. But when it came out I felt vulnerable, and that had never happened.”

Let’s go to the album: blatantly inspired by the rock years ’ 60-70, psychedelic, glam and alternative country, it is light years away from the dance pieces and acute voices of One Direction. He wrote it and recorded it last summer in two months, in Jamaica. Styles says he was inspired by the singer and songwriter of the 1970s, Harry Nilsson, and the bands he listened to when he was small: his father adored Fleetwood Mac, the Beatles and The Rolling Stones, while his mother liked to hear Norah Jones and Shania Twain. Of course, they were not so fashionable influences, but maybe the point is just that. Despite the huge commercial success of One Direction, I honestly struggle to hum their songs, they do not remain in my head. Styles has replaced the ephemeral light pop with something more lasting, and it works. The lyrics are saturated with sex, nostalgia and broken hearts, a rare glimpse of his personal life. The last song is titled From the Dining Table and begins with: “Woke up alone in this hotel room, played with myself, where were you? Fell back to sleep, I got drunk by noon, I’ve never felt less cool.” You play with yourself? “I play with my thoughts!”, he immediately corrects.

In April he gave an interview to the magazine Rolling Stone in which he claimed that a woman in particular had a key role in the album. “Sometimes you just want to make a nod to someone, sometimes a real bow, and hope she understands it’s for her.“ The commentary was seen as evidence that the album was about Kendall Jenner, the model, television reality star, and Kim Kardashian’s half-sister with which Styles had been in a turbulent relationship with for two years. Are you interested in clarifying things? Obviously not. "It doesn’t seem to me that the record is a romantic tribute to a person. It’s more about me than anyone else. I think it’s all too easy to say, oh look, it’s about this person, that’s the most interesting thing. I never felt the need to talk about things like that.” And who can blame him? His sentimental life has always been in the spotlight. In 2012, he and Taylor Swift had been on the front page of the tabloids when they had been caught on their second date walking around Central Park. They had left a short time later, but the interest in their relationship had reignited when it was known that Swift had written at least two songs for him in her next album (Out of the Woods and Style).

Does always being in the spotlight make the natural development of relationships more difficult? “Relationships are difficult anyway. You don’t always understand just how a relationship goes, it’s not like you can say: in a week I will know. You are often told what it is before you really understand it. However, all that stuff happened when I was even younger, and you’re very confused when you’ve only had a few relationships.” Did you have to give up that sphere of private life or manage to have a little more confidentiality? “Not lately, because I made the album and a lot of things… I don’t know. No, I feel like I’ve worked a lot with the band. Too many things happened.” How many times has he been in love? “I don’t know. I don’t know how you could tell, so it’s hard to answer, right?” "One realizes, when it happens”, I fight. "Well, so they say.” He makes an embarrassed giggle and then takes the pink phone. “Um, you want to hear another song?”

He’s always been a seducer. His elder sister, Gemma (writes about technology and trends of the Millennium), recently wrote an article for the journal Another Man in which she remembered a family vacation in Cyprus. Harry was seven years old. “He was sitting on a bench near the pool, with people who were triple his age. When we returned to the airport, there was a crowd of girls of all ages who came to greet him.”

He and Gemma grew up in Cheshire. Their father was a financial advisor, now working in insurance. Styles was seven years old when his parents divorced. He is grateful that his parents have maintained a friendly relationship, even after his mother has remarried. "I’m lucky I didn’t have to take sides when they separated. I have always felt loved and encouraged by both.” He calls his mother most days. “A lot of friends say to me, ‘Your mom is really great.’ She never made me feel obliged to prove what I’m worth. Many grow up without ever showing what they feel, instead at our house there has always been much love.”

At the age of 14 he had started working in the local bakery, and he got up at 5 every Saturday. He had always thought of becoming a physiotherapist, but then “we did a workshop at school, to talk about what we wanted to do, and someone told me that there were no job opportunities in that field, so I had to choose something else. I was hurt.” Shortly thereafter he formed a group with some school mates, White Eskimo, and participated in a local band contest. “I was nervous before I got on stage, but that feeling of having all eyes on you doing something you like was exciting.”

Now we are waiting for hectic times, with a world tour of three months, alone, starting in September. The Dunkirk film will be released on August 31st. He hasn’t seen it yet, so he doesn’t know what weight he will play as an English soldier. Rumor has it that he also impersonates Mick Jagger in a biopic, but he denies it, although the look he chose for his solo album resembles the elaborate, androgynous, 70s look of Jagger. Despite having 30 million followers on Twitter and 20 million on Instagram, he is oddly cautious about social media. “Once I heard someone say: If Twitter was a party where you know that 30 percent of people are great, but you also know that the rest will hate you, you are just not going to go,” he explains.

I must admit that he is much more serious and sensitive than what I thought by watching him in the videos of the One Direction era. After three hours in his company, I can’t find any defect, he doesn’t even drink. “In the last two years of touring I discovered that I liked to go run in the morning. When I work I don’t like to drink. I do it when I go out with friends, but then maybe I don’t touch even a drop for more than a month.”

It’s time to say goodbye. I ask him what he wrote in the email that he sent last night, what he must remember to do. "I have to go and cut my hair.” Just a good guy.

(cover from Vanity Fair No. 24. Text by Kristi Murison. Translation of Gioia Guerzoni)

#Harry styles #vanity fair #Harry #styles #Harry styles vanity fair #English #translated #Harry interview #Harry styles update

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thesinglesjukebox · 4 years

Video

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JUSTIN BIEBER - YUMMY

[2.68]

Well, we thought about the Yummy, we said “Biebs, you’re fucking high...”

Alex Clifton: Why are straight boys like this? [2]

Leah Isobel: Justin Bieber's greatest strength as a vocalist is - was - playing very dumb phrases extremely straight, investing them with almost overflowing, doe-eyed emotion. This quality could turn a one-word chorus into poetry, or he could U-turn into knowing comedy when the phrases and ideas got dumb enough. On "Yummy," though, Bieber meets his match in a title phrase that's too winkingly juvenile even for his reformed child-star tenor. More than that, he sounds tired, like he doesn't even want to be playing this game anymore - his high notes have turned nasal and yelpy, his low register more empty air than resonance. I can imagine the Bieber of "Boyfriend" or "Beauty and a Beat" really feasting on this track, but 2020 Bieber needs more than vapid concepts to regurgitate on a semi-trendy beat. Those doe eyes have turned dead. [2]

Joshua Minsoo Kim: This would be a generous [6] if it were 2013 and this was one of the lesser tracks on Journals. More than six years later, and "Yummy" just sounds like... nothing? People complained that Ciara singing "yummy" was a mistake, but Bieber does something infinitely worse: he makes it devoid of any and all feeling. [3]

Ashley Bardhan: What can I say when Justin already said it all himself -- "you got the yum, yum-yum"? This song sounds like it would be Noah Centineo's ringtone. [1]

Thomas Inskeep: "Yeah, you got that yummy-yum" -- is Bieber trying to sound like an idiot? Because guess what, he succeeds. The production's generic pop-trap, and the lyrics are moronic beyond measure. About as yummy as food left in a dumpster at the height of summer for a week. [1]

Brad Shoup: Yummy is a fine word, acceptable even: couples are (or usually are) goofy. Things like yummy tend to slip out. It's the shiver he puts into the line "never runnin' low on supplies" that truly haunts. Wild how a couple years ago, the vocal manipulation would be front and center. Now, the up- and down-pitched yummies are practically invisible. Maybe by 2021 they'll be gone. [3]

Wayne Weizhen Zhang: Justin Bieber choruses work best when framed around a question: "What do you mean?" "Is it too late now to say sorry?" "Can we still be friends?" "Can we keep each other company?" "Where are yoü now?" See, Justin has never been the sexiest or suavest pop star in the world, but these big, pontificating questions sound nice. Fill in the blank answer with whatever you want; Justin is just the handsome chauffeur taking you to your destination. It becomes a problem, then, when he's asked to sell something more direct; he just sounds silly and unconvincing. "Yeah, you got that yummy-yum, that yummy-yum, that yummy-yummy" is already a weak chorus to begin with, something even a Bruno Mars, Childish Gambino or Drake would have difficulty pulling off. Here, we have Bieber: selling this positive statement with the enthusiasm of someone politely pretending to like something they don't. [3]

Jacob Sujin Kuppermann: The beat of "Yummy" sounds like a horny remix of the Wii Shop theme. It is by a wide margin the best part of the song. [2]

Alfred Soto: As abstracted a signifier of post-adolescent yearning as Bryan Ferry is a holy spirit of divine melancholy, Justin Bieber could be Swae Lee or Arthur Lee. He chirps over this here trap beat because he can't chew on it -- where are the yums? I smiled only at the line about walking in house slippers. [3]

Nortey Dowuona: The problem with Justin Bieber is that he's not interesting enough to really write about, musically, gossipcally or at all. The smooth, loping bass with sweeping, swallago synths and dispassionate synth progressions or the dull, flat drums are too interesting for Bieber to dully fumble over while not being able to play around with his limited range in the slightest the way a Frank Ocean or a Dappy or even a YBN Cordae could. At least it's short. [5]

Ian Mathers: Every day Popstar: Never Stop Never Stopping inches closer to being a documentary. [4]

Katherine St Asaph: OK, but I can go listen to Usher's "Lemme See," Chromatics' "Lady" and Ciara's "Dance Like We're Making Love" and get the same nocturnal streetlights-on-rain mood without also hearing Justin Bieber sing "yummy." [3]

Scott Mildenhall: Whether or not this is a song whose authors think is commercially astute, it is fantastically stupid in a way that seems too witless to have been so engineered. It was awkward enough when Harry Styles pressed the "belly" button, but to hang a whole song on the word "yummy" is both comical and, to extend the juvenilia further, icky. Though perhaps this is a path to follow. Bieber will already have fans who weren't born before "One Time" (or were babies as of "Baby"), so why not go an eenie meenie bit further and make the video a toy unboxing? Children are the future! [4]

Will Adams: Somehow less convincing and more juvenile/slightly creepy than when Bieber called his girl an "eenie meenie miney mo lover" ten years ago. [3]

Oliver Maier: Justin Bieber spent his teens trying to sound grown-up, then spent his early 20s trying to sound like a teenager. Purpose's singles posited him as a golden-hearted hottie grappling with adolescent naivety, who hurts your feelings or doesn't quite get it but is still trying, dangit. There was naturally a manipulative subtext to that cluelessness, but for whatever reason -- maybe that tension is interesting, maybe the songs were just catchy -- he remained compelling, and still felt out of our league. These days, I guess he's content to sound like nothing whatsoever. "Yummy" surrenders a few too many brain cells both in composition (this doesn't sound like a song anybody cared about writing) and execution (Justin Bieber sounds like the most tediously simpering man on the planet). There are shadows of good melodies here and there, if you're feeling generous, but it is simply too half-formed, and so cutesy and content that it nukes Bieber's sensuality altogether. I can't decide whether to cringe or take a nap. [3]

Will Rivitz: Three points to this as a conceptual exercise -- I didn't think it possible to sanitize "Hotline Bling" even more than the original. That's all it gets. [3]

Kylo Nocom: Awful metaphors and unsexy sex talk as bait for detractors to publicly (and correctly) declare awful. It's the same strategy as "Earth" and as the bizarre lead singles of other stars' comebacks: get the fans liking it, and the haters furious at how stupid it is. What "Yummy" does have is plenty of melodic tricks, and a beat like this would've popped off in 2016. Yet giving this any credit feels like rewarding a transparent cash-in when he's had far more attractive come-ons. [4]

Kayla Beardslee: Obviously "Yummy" isn't good. Obviously I was never personally going to like it. Obviously we as a collective are going to hate it. But what am I actually supposed to do with it? The Justin Bieber hate train has whirred back into full force -- the video is 15% disliked, and articles (plus offhand internet comments) criticizing him, the rollout, and the music are already being pumped out. He took over four years to come back after Purpose, but has been dropping a steady stream of features in the interim: Bieber has simultaneously faded from the public eye as a solo artist and overexposed himself as an inconsistent, practically anonymous guest feature. There's no hype for his return, except among diehard fans who would assemble no matter the timing or quality. It feels like being force fed. And yet, although "Yummy" is a joyless combination of beige and sleaze, I'm still hesitant to gleefully condemn it. As a song, sure, it's unpleasant and Purpose-less and not what he needed to kick off a successful era. But, let's be real, "Yummy" is such a nothing that trashing of the music can easily transfer onto Bieber himself, and so much of the hate is not (for lack of a better term) in good faith. If you're going to criticize Bieber, call him out for things like idolizing Chris Brown and patronizing Hillsong (deciding whether the latter is actually bad is complicated, but it's certainly been a topic of conversation around him). But how many people in a social media crowd are going to provide balanced criticisms of difficult topics like these? Bieber's music has been marketed toward teen girls, he has a pretty voice that some might judge as feminine, he just dyed his hair pink, he's making trendy pop and chasing traditional masculine and commercial markers of success: these are all fodder for cheap shots and knee-jerk hate across a variety of communities. I've seen people (a friend, a relative) react to mentions of Justin Bieber with mild disgust -- literally just his name is a repellent. Of course, Bieber carries himself with a cocky attitude that's easy to hate (probably what happens when you're forced into the ridiculous freedom and unique restrictions of celebrity when you're a naive teenager). Of course, he's built a reputation for acting like a terrible person many times in the past. Of course, Bieber is a straight white man who has a layer of security against harassment that artists like, for example, Lizzo don't have. And yet I constantly remember that Bieber has spoken out about battling depression, and I feel uncomfortable joining the pile-on. And really, what is there to enjoy about trashing him or "Yummy"? The track is bland and unambitious, except for when it's actively repelling ("get litty, babe"; the entire fucking premise of "yummy"). Bieber doesn't even sound like he cares. At first, I thought his team must have chosen a song named "Yummy" as a lead single for the same reason scammers still send Nigerian prince emails: immediately weed out the people who have no patience for it, and focus instead on reaching the sympathetic (his fanbase) and the oblivious (the general public bogeyman that passively consumes hits through playlists). And then I learned that the bridge namedrops Bieber's own house slipper brand, in a dumb, out of touch move that only a rich celebrity would approve of. That single moment makes me think his team is, in fact, desperate enough to coast on soulless music and hope to profit off Bieber's previous reputation and work alone. We're all just tired, aren't we? [1]

Jibril Yassin: Justin Bieber, a generational vocal talent, is trying to channel Post Malone here and all that comes to mind is a xerox of the Spider-Man pointing at Spider-Man meme. Can we get Usher to come back and fix this? [1]

[Read, comment and vote on The Singles Jukebox]

#Justin Bieber #pop #music #music review

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disappearingground · 4 years

Text

PRODIGAL DAUGHTER Jenny Lewis

Blurt Magazine February 20, 2009

Last year the Rilo Kiley vocalist took a vacation from her band, visited her hometown, and wound up with a solo album.

By A.D. Amorosi

Going back and forth between the past and the present, the inane and the barely passably sensible is pleasing to Jenny Lewis.

That’s her life and that’s her wife, what with having spent the better part of growing up absurdly in one brand of show-bizzy limelight or another; a child of vaudevillians and entertainer-types, a kid actress, a country-tinged pop band chanteuse, a mistress of wordy Saddle Creek-y solo album (Rabbit Fur Coat) éclat.

“And now is my time,” says Jenny Lewis crisply. “My time.”

Not just because she’s away again from that old California gang of hers – the now decade-old Rilo Kiley that she birthed with guitarist/one-time paramour Blake Sennett. Or that she’s simply releasing her second solo effort in two years.

Jenny Lewis has produced Acid Tongue – a damn-near live album that’s got no Pro-Tools, is all analog, is far less wordy than her previous recordings, and whose vocals were tracked as they were happening. Lewis produced it with some old close friends and brought in a few pals to play and sing.

But it’s her.

You can’t help thinking that having her return to her childhood home (the one between Las Vegas and L.A.) of Van Nuys to record Acid Tongue wasn’t just the work of healing old wounds (“Badman’s World”) wounding old heels (“The Next Messiah”) and reconstructing the Oedipal Complex for 2008 (“Jack Killed Mom”), but rather some sassy shout-out of independence and huzzah-huzzah-hoorah-ness.

Besides, there’s got to be some particular self-satisfaction at work; of divinity, silliness and narcissism that would allow her to place her face on the cover of this new album done up as dozens of acid blotter tabs.

“Well, you may as well have a laugh,” says Lewis, about her lysergic cover art. “And if you were to drop a tab, you might very well see as many mes standing before you.”

That doesn’t sound so bad.

From the reaction to 2006’s Rabbit Fur Coat – produced by her bud Conor Oberst’s Bright Eyes stalwart Mike Mogis – a couple-hundred Jennys would be great. She did three tours around that solo effort alone. But it’s always seemed as if Jenny-philes have wanted more of her. No sooner than people liked Rilo’s quirky irked brand of indie-country-pop, Lewis’s soulful squint of a voice and panicky character-driven lyrics (2001s Take Offs and Landings on Barsuk), they wanted the band to go major label and her to go solo. The moment she released something small and the band hit the majors (with 2007s Under the Blacklight for Warners), people wanted more solo stuff from Jenny.

Everybody seems to be waiting for something from her.

“I don’t know why they’re waiting. I’m incredibly stubborn and I probably won’t give them what they want,” she says plainly. She is her own driving force and won’t be cadged into doing more solo projects. She does records with whatever speed and volume because she is not yet satisfied. “I never am and never have been. I want more. I never assume that I’ve done all that I can do. That just happens to be one of my character traits.”

Jenny Lewis dictates the pace. Things have been as such since she decided to become a writer and singer.

Stop.

This is not the question where you ask her about the childhood acting thing. This is the question about the through line that exists between those careers; the one beyond “Show biz.” She goes on to tell me a family history.

Grandmother was a head balancer and dancer with Moscow circus. Grandfather was a small time criminal and singer with vaudevillian Burt Lahr who fell into depression and out of music when Lahr left the act to pursue the role of “Cowardly Lion” in The Wizard of Oz. Both of her parents were musicians who had a lounge act in Las Vegas and were on The Ed Sullivan Show.

“My birth was just a continuation of family business,” she giggles. “But it was also about the continued avoidance – for me – of avoiding the straight life, a regular job. That’s what show biz presents itself as always, a viable option from doing normal 9-to-5 stuff.”

So maybe it’s all one big gesture. But I’m not here interviewing a Jenny Lewis of Facts of Life fame or a Jenny Lewis star of the touring version of The Lion King or a Jenny Lewis known for hosting a reality show and singing for Disney.

Without sounding too lofty, this brand of Lewis found a deeper aesthetic direction, an art form amongst the entertaining bits.

“That’s the only difference I think… I am a writer,” she says. That’s what led her upon meeting Blake Sennett to write their first song together, “Eggs.” “It was before Rilo Kiley. At least before we were called Rilo Kiley. It was on the first day we met.” Sennett had a guitar riff. She had a four track. He laid it down and she wrote stuff over it.

But this is not a Rilo Kiley story.

“Yes,” Lewis says quietly, when I ask if she feels like she and Rilo have grown up together. “In some ways; but I don’t know that we’ll truly grow up.”

Yes. Most of her Rilo Kiley lyrics are less personal than those on her first solo album. But on the new Acid Tongue there’s a darker, deeper mix of the personal and the character-narrative. “There’s so much more Rilo stuff so there’s been more to experiment with and more time for it. But I was comfortable enough here to do both character-driven songs and personal ones.” Does that mean she’ll find a zone in Rilo in which to do both? Or is she better off keeping the personal tunes like “Tryin’ My Best” to herself and for herself?

“To know that there’s someone else you’re singing about can weigh just as heavily as a song you’re singing about yourself,” says Lewis. “Sometimes the personal songs are easier. Sometimes the personal songs bore me.”

She’s tired of hearing of hearing herself complain about stuff. “That is until I write another song about me complaining about stuff.”

Maybe she’s getting better at being solo than Rilo Kiley-ing. She doesn’t know yet. Lewis can say that this Acid Tongue experience – recorded in the same studio where Neil Young did After the Gold Rush and Nirvana did Nevermind – was the most comfortable she’s ever felt in the studio; so comfortable that she was able to sing the songs in their entirety. “The whole record is live, live singing, live playing. I haven’t been able to do that in the past. This may sound a little hippie dippy-ish but I just never felt free enough to do that. I was always self-conscious in the studio.”

Her three weeks spent recording Acid Tongue were planned, but ever so loosely. If they could pull it off the live haste and pace – great.

The title song’s first line – written who-knows-how-many-years-ago when she was living in her Silverlake apartment where she wrote 90 percent of all of her songs – was the start of the record:

I went to a cobbler to fix a hole in my shoe/he took one look at my face/and said “I can fix that hole in you”/“I beg your pardon I’m not looking for a cure/I’ve seen enough of my friends in the depths of the God-sick blues”/you know I’m a liar.

The line didn’t dictate what would happen next. Nor does it sound like anything else on the album. “But there was just something about that first line coming to me; the idea of someone having an answer for you, a solution to something, the sadness of that,” she trails off. “It was a feeling I wanted to go with.”

So Lewis and her co-producer pals Farmer Dave Scher, Jason Lader and songwriter/beau Johnathan Rice, along with musicians/singers Chris Robinson (the Black Crowes), Zooey Deschanel, M. Ward, Benji Hughes and Davey Faragher, all got Acid-ic. So did family members like her vibraphone playing uncle, her singing sisters and – amazingly- Elvis Costello.

“Once we got to the studio it was good and flowed very quickly,” claims Lewis. “We could pull it off. We could play it live. Which is so weird, to have to make a point of that, because that’s what music should be. But I’m a child of the digital revolution.”

I stopped to finish a thought I‘d had earlier: that if she’s having such a good time with people other than Rilo Kiley, is she worried that she might be better at being solo than a Kiley-ite. She’s not. She just wants to make the best music possible with whatever bunch of people she makes it with. She didn’t start playing music to be burdened by her relationships and be miserable. She wants to enjoy myself.

“Now’s the time.” Not just because the moment out there is good. But, not to sound hippie-dippy-ish… “The moment within me is good. I’m just starting to understand what I do.”

And that understanding is? “I’m just learning how to trust myself musically. I’m learning that you don’t have to say as much to make a point.”

True, that. Yes, the inspiration of Laura Nyro’s Gonna Take a Miracle – the spare soul momentum, delirious melody, awestruck joy and the lean accompaniment of the trio of singers that was Labelle – was the backbone for Rabbit Fur Coat. So, too, was a loquaciousness and a series of multi-syllabic phrases that filled every crevice of every song.

Acid Tongue – lyrically – is more economical than that.

“That was a conscious decision. Going back and listening to my older songs I think I was trying to prove something – overstating the obvious.” So she went back over Acid Tongue things and scaled back the syllables. That happened, too, because this album was as much about the total package as it was the worried words and dark passages. The expansive, sometimes-psychedelic harshness is a far cry from Nyro’s stewing Tin-Pan soul and Lewis’ mom’s favorite songwriter.

“Plus the location was more important” says Lewis, discussing Van Nuys’ California’s Sound City Studios. “We were all inspired by the records that’ve been made there. Plus, returning to where I grew up was timely. I needed to address things about my personal life, my past.”

Lewis isn’t so completely revealing as to what she was addressing. You don’t necessarily need her to do so, save for the fact that she expressed pain at having to drive past her childhood home every day as she rode to the studio and then realized that she couldn’t run from things bottled up.

“You cannot run from feelings. You will be unwell. They will affect all that you do. It will ruin your health. In order to do that, I had to make this record there.”

Ask her to focus on the track that best reflects that search for addressing those feelings, for picking at your emotions: she chooses “Badman’s World.”

There’s a certain line that listeners should seek out during that haunted song. Lewis doesn’t know if it’s a necessarily poignant phrase. But it was important enough to stop the recording of another track – “Sing a Song” – as she came up with a twist on “Badman’s World.” Lewis started playing “Badman” on piano only to have the rest of the band join in and the control room ops continue taping.

The line is about scorpions. Originally it was about her and another person being two scorpions in one bottle. Now, it’s about one of those scorpions getting shot by Lewis. Which one gets shot is a mystery worthy of J.R. and Dallas.

“You have to take responsibility,” says Lewis, when asked what the point of the “Badman’s World” is.

Yet the whole album seems to be about her taking responsibility.

She won’t take full credit for the economy of its lyrics not matching the ferocity of its sound. Lewis credits her co-producers and mentions Johnathan Rice. “The four of us together formed one great person.”

That she’s brought up Rice twice and that she’s made music in close proximity with another one-time paramour, Rilo’s Sennett, the questions arise about it being hard or desirable to work with someone you’re having a loving relationship with.

“It is what I do and what I’ve done. It’s just very natural. I’m always thinking about music. Every time, every day, writing words, listening back, criticizing myself. It’s nice to have someone who is up for sharing in that at all times of day at all hours.”

It is a risk, she knows, because you’re chancing personal happiness and the longevity of the relationship. But she knows she has to do it. “You got to do it. And as a woman playing music, it’s nice to have someone by your side… because I am a coward,” she giggles. “Seriously. I’m lucky to have had talented dudes around me.”

Speaking of talented dudes, Elvis Costello worms his way into the conversation in the same fashion he wormed his way onto Acid Tongue. Apparently she first spoke to the British lion when having Christmas with a friend’s father – Costello drummer Pete Thomas. Costello phoned to wish Pete merry-merry, got Lewis on the phone, got her to appear in his “Monkey to Man” video (“I did an awkward walk-by clutching a purse”), then wound up dueting on “Carpetbaggers” when Rice was up for the low singing parts.

“I emailed him. He responded. And in exchange we recorded some of his songs. The vibe was so good there that as soon as we finished mixing, Costello went into make his own record there.”

Like Costello grabbing a lick, all the heavy heady sad moments that fill Lewis’ Acid Tongue are ripe with lightness of being, of funny moments and gentle sessions. The funniest seems the sweetest – the mad-mad-Jim Morrison moment of “Jack Killed Mom.” While the whole song seems to seethe with its death knell promise (“I had to kill off the mother character that was so prominent on Rabbit Fur Coat,” says Lewis), it is her harmonica-blowing dad, jazz-bo Eddie Gordon, on the track.

“I was so tired of talking about my mother from that last record that having my dad play on it was just hilarious. Having him and my family and my friends in the studio felt like an honest record.”

Now let’s back to those acid tabs.

#publication: blurt magazine #album: acid tongue #year: 2009 #mention: cover art #mention: family history #mention: rilo kiley formation #person: blake sennett #mention: songwriting #mention: recording process #song: acid tongue #song: bad man's world #person: johnathan rice #person: elvis costello #song: jack killed mom

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