baby

king princess: honey on ur knees…

I went though a goth faze in my teens (like most) and I wanted more than anything to paint my room black. My mom was supportive of my personal expression in terms of my clothes and hair and accessories but she was genuinely concerned about the toll a black room would take on my mental health (I was already prone to recurring depression at that point and still am). I begged for months to repaint my room, but she wouldn’t budge.

“How are you doing on this side? Are you having a good time? (to each section) Are you having a good time? Good time? Good time? Good time? Sir, where are you guys from? Do you live in Hong Kong? How long have you lived here? Three years. Where are you from? Where are you from? Newcastle? England. Where about in England? London. Where about in London? I’m not going to hear you. How do you like living in Hong Kong? Wonderful. Are you with your daughter tonight? (she waves) Hello! Are you enjoying the show so far? How do you like living in Hong Kong? Great! ANOTHER HAPPY CUSTOMER LIVING IN HONG KONG! Is anyone else from England who lives in Hong Kong? (lots of screaming) There is. And everyone’s happy, yes? General consensus is Hong Kong is wonderful. Are you guys from London? Where are you from? London. How long have you been here? 21 years. Happy? EVERYONE’S HAPPY LIVING IN HONG KONG! Think I’m gonna move myself to Hong Kong. I like it, I like it.”

“On Styles’ self-titled debut album, out May 12, he eschews slick production and sharp hooks. But he still synthesizes influences from the last half-century of rock, so much so that you can practically travel through history on the back of his references. The anxious opener ‘Meet Me in the Hallway’ has a riff straight out of Jefferson Airplane’s ‘White Rabbit,’ while the operatic lead single ‘Sign of the Times’ channels David Bowie. ‘Kiwi’ is straight-up grunge, full of rage, and ‘Two Ghosts’ sounds like late-'90s adult-contemporary radio, in the best way. Working with veteran producer Jeff Bhasker (Kanye West, Mark Ronson), Styles has crafted a grownup rock sound that doesn’t pander. Styles’ lyrics can be opaque, which makes the confessional final track, 'From the Dining Table,’ all the more important. It’s a vulnerable ode to the lonely hotel room, the curse of the famous. The song not only proves Styles’ talent as a storyteller but also shows that he may potentially be as good at looking inward as at looking backward in time.”

rocket: toss me my keys

I need DICK