競艇タメダス。 ヒロシの徹子の部屋・ソロキャンプ・4回目が話題

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競艇タメダス

競艇ダメダスという競艇予想サイトの調査結果と批評 競艇ダメダスという競艇予想サイトは「」に ドメイン(damedasu. net)を取得しているので、今から 16年も前に運営を始めた無料ボートレース予想サイトのようです。 競艇ダメダスについて調べてみると、 競艇予想サイトのように有料で予想を提供している訳ではなく、会員登録した 利用者がそれぞれ自分の競艇予想を入力していくもののようです。 しかも競艇ダメダスに自分の競艇予想を登録すると、 会員登録したメンバーたちは誰でもあなたの予想や他のメンバーの予想を見られるようになるので、 無料で競艇予想を手にすることができる仕組みになっています。 競艇ダメダスについて検索する人は、 競艇ダメダスでの予想の評判や口コミよりも「 競艇ダメダスの使い方」について詳しく調べているようなので、この記事でも 競艇ダメダスの使い方を詳しく説明していこうと思います。 競艇ダメダスという競艇予想サイトの特徴は 競艇ダメダスという競艇予想サイトの特徴について調べてみると、 サイト運営者が競艇予想を提供する訳ではなく、私たち 利用する人ができることも限られていることが分かりました。 まず 競艇ダメダスでできることは、私たちのような「 利用者がTwitterアカウントで会員登録をして自分の競艇予想を登録していく」ことと「 他の会員登録をした人が登録した競艇予想を閲覧できる」という2点です。 競艇ダメダスに自分の予想を登録するには、Twitterアカウントで「 サインイン」してからでないと競艇ダメダスに予想を登録することができません。 競艇ダメダスに投票したユーザーは、自分の 競艇予想が的中すればするほど競艇ダメダス内のポイントが付き、 予想ランキングで上位に表示される仕組みになっています。 競艇ダメダスの予想ランキングには、3つの種類があり「 配当ランキング」「 的中率ランキング」「 連チャンランキング」でそれぞれポイントや配当を競いあい、 過去30日間に10回以上の投票があった人の中で上位20名がランキングに表示されます。 競艇ダメダスのランキングに登場するには、少なくても 30日間で10回は予想を投票しなくてはなりません。 その中で 高配当の舟券を的中させたり、 連チャンで舟券を的中させるとポイントが溜まってランキングに登場するシステムなんですね。 競艇ダメダスの会員登録の方法を詳しく調査 競艇ダメダスに自分の競艇予想を登録するなら、まずは 競艇ダメダスに自分のTwitterアカウントでサインインをしなければ「 競艇ダメダスの全て」を活用することができません。 私も 競艇ダメダスの使い方や無料予想の実態を調べるために、 ツイッターアカウントでサインインをする方法を実際に体験してみたので、詳しい 競艇ダメダスの使い方もご紹介していきます。 競艇ダメダスにサインインするためには、まずトップページの右上にある「 Unknown User」をクリックして、その下に Twitterのロゴマークと一緒に表示される「サインイン」を押します。 すると 上記のような画面になるので、「 連携アプリを認証」という青いボタンを押します。 競艇ダメダスのTwitter認証はこれだけで終了するので、 面倒な会員登録は必要ありませんでした。 Twitterアプリの認証が終わると、先ほど「 Unknown User」だった部分に 自分のTwitterの画像が表示され、さらに横には「 TwitterのID」が表示されているのが確認できます。 Twitterのアプリ認証をしても、 自分のツイートで何か表示される訳ではありませんし、フォロワーにお知らせが行くこともありません。 競艇ダメダスでTwitter認証しても、 誰に何を知られる訳でも無いので心配しないでくださいね。 競艇ダメダスの使い方(予想を投票する方法) 競艇ダメダスの予想は 1日最大6レースの予想ができて、 投票していたレースが確定すると次のレースを予想することが可能になります。 ボックス予想とありますが 完全なボックス予想ではないようで、 着順通りに的中するほど高得点になります。 競艇ダメダスの予想投票は「 1レース3連単1点だけ」の予想で、予想した レースが終了するまで他のレース予想が投票できないのは待ち時間が多くなります。 暇な時には良いのですが、 忙しい中で予想をたてている場合には まとめて投票できたほうが便利なんですよねぇ。 競艇ダメダスの運営会社と運営時期を調べてみた結果は 競艇ダメダスの運営会社と運営時期を調査してみると、運営会社は「 競艇ダメダス」のどのページ書かれていないのですが、 管理人はTwitterアカウントで公開されている「」とのことでした。 運営会社の情報がないので、当然ですが 運営元の所在地も確認することができません。 競艇ダメダスの運営時期は、競艇ダメダスの ドメイン(damedasu. net)が取得された日付が「」になっていますので、今から 約16年も前に運営が始まった競艇予想サイトだという事実が分かりました。 競艇ダメダスの管理人、IPアドレスで、同じような競艇予想サイトあるか調査してみましたが、 競艇ダメダスと関連がありそうな競艇予想サイトは見つかりませんでした。 競艇ダメダスの会員になる無料特典とメリットは 競艇ダメダスとあなたの Twitterアカウントで認証をし連携すると、 無料特典やメリットがあるのかを調べてみました。 Twitter認証をして利用者登録をしたからと言って、 無料特典などは一切確認することはできなかったのでご報告しておきます。 競艇ダメダスのメリットとしては、 1レース1点ずつで1日最大6レースまでになりますが「 自分の競艇予想を投票して的中か不的中かを確認する」ことができ、さらに その競艇予想を他の人にも見せることができます。 的中した場合には「 配当金額」や「 個別のポイント精度」に「 連チャン率」などのデータを集計してくれて、 競艇予想の投票をした人たちの上位20名をランキング形式で発表してくれます。 競艇ダメダスを利用するなら、 ある程度の時間的余裕がある日ではないと、投票は1レースごとになるので時間が足りなくなります。 逆に言えば、 競艇ファンでお金がなく舟券を購入できないけど遊びたい人には、 最高の暇つぶしツールになるのではないでしょうか。 もちろん当たってもお金は払い戻されませんがw 競艇ダメダスは詐欺なのか競艇女子のまとめ 競艇ダメダスという競艇予想サイトが「 悪評な詐欺サイト」なのか、「 おすすめの優良予想サイト」なのか徹底検証してきました。 競艇ダメダスに関しては、 運営側が競艇予想を販売しているのではなく、 利用者がそれぞれの競艇予想を投票できるコミュニティツールなので、 詐欺サイトでも おすすめサイトでもありません。 競艇ファンなのにお金がなく、 実際の舟券が買えないけど遊びたい人には嬉しい競艇予想を投票することができる遊べるサイトです。 ただし 自分が投票した舟券が的中しても、 配当金を手に入れることはできませんので注意してくださいね。 このような点をまとめて、 競艇女子が競艇ダメダスを調査した結果は「 検証中の競艇予想サイト」であると判断しました。 人気の記事はこちら• 2019年3月19日 に投稿された 6 投票, 平均点: 4. 67, 総合点: 28 評価済• 2019年3月19日 に投稿された 2 投票, 平均点: 3. 50, 総合点: 7 評価済• 2019年2月5日 に投稿された 38 投票, 平均点: 4. 37, 総合点: 166 評価済• 2019年2月7日 に投稿された 16 投票, 平均点: 4. 25, 総合点: 68 評価済• 2019年3月19日 に投稿された 2 投票, 平均点: 4. 50, 総合点: 9 評価済• 2018年11月28日 に投稿された 13 投票, 平均点: 4. 15, 総合点: 54 評価済• 2019年4月11日 に投稿された 3 投票, 平均点: 4. 33, 総合点: 13 評価済• 2019年3月6日 に投稿された 8 投票, 平均点: 4. 13, 総合点: 33 評価済• 2019年3月15日 に投稿された 4 投票, 平均点: 4. 25, 総合点: 17 評価済• 2019年3月27日 に投稿された 2 投票, 平均点: 4. 00, 総合点: 8 評価済.

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ホビーサーチ

競艇タメダス

4002 古結宏 『テレしずサマーカップ』は7月23日(祝)から27日(月)までの5日間開催。 経験豊富なベテランからデビューしたての126期の若手まで幅広いメンバー構成です。 ダントツの優勝候補は、今年ここまでV2としている中澤和志選手。 3月の津と7月の戸田で優勝を飾っています。 現勝率も7. 35で高水準。 3連対率75. 型にはまらない柔軟な調整やレースぶりがもたらす自然体のレースに注目したいものです。 この中澤和志選手に次ぐのが、古結宏選手。 現勝率を7. 15としています。 圧巻なのはその2連対率。 中澤選手をしのぐ57. そのレースぶりは中澤選手同様、自在戦。 インの信頼度はもとより、まくりも差しもまくり差しも状況に応じて繰り出してきます。 さらに、マスターズ世代の大澤普司選手にも注目。 今年はまだ優勝こそないものの、ベテランのさばきで連に絡んできます。 特に2着が多いのが特徴。 覚えておいていいでしょう。 そのさばきの背景にあるのは、レースができることへの感謝の気持ち。 一戦入魂の精神で戦いに挑んできます。 さらに、息子の大澤風葵選手が126期でデビューしました。 現在フライング休みに入っている息子の分までやってほしいものです。 そのほか… 決して派手な印象はないものの、外連味のない競走スタイルで確実に舟券に絡む尾嶋一広選手 愛知の精鋭として期待が集まるのは、そのポテンシャルの高さゆえ。 浜名湖は一昨年11月に優勝を飾っている本多宏和選手 自然体で力みなくレースに臨み、流れの中で混戦を抜け出してくる大阪の雄・鶴本崇文選手 鶴本選手と同じ大阪支部。 堅実なレース運びでファンの期待に応える濱本優一選手と藤山翔大選手 地元静岡から参戦するメンバーのリーダー役となる魂の男・石田章央選手と時に意外性を発揮する芹澤克彦選手 現在A2ながら、持てる実力は完全なA1、記念級。 調整が合えば、毎回「勝利にリーチ」してくる作間章選手 伸びを中心とした独特な舟足があるのは、自ら考案した調整方法があるから。 仕上がれば連戦連勝の勢いでぶっちぎる佐藤大佑選手 さらに、126期としてデビューし、現在研鑽の道を歩きはじめた堀越雄貴選手と大場恒季選手など、多士済々です。 7月23日(祝)から27日(月)まで開催の『テレしずサマーカップ』に、どうぞご期待ください。

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未勝利戦、牝馬より牡馬の方が勝つときが多いと思いませんか( ̄...

競艇タメダス

storefronts. editorial. groupings. extend. editorialartwork. 2cartisturl. include. 5balbums. artists. en-us. name. music. platform. abe8ba42278f4ef490e3a9fc5ec8e8c5? mzstatic. apple. mzstatic. mzstatic. mzstatic. Give it a listen, along with the latest from artists like Pop Smoke, Juice WRLD, and Gunna. Rap Life is updated often, so check back regularly, and if you hear something you like, add it to your library. 1523690125? mzstatic. apple. bf088642bb954ddd8f38faf218dfe9d5? mzstatic. apple. mzstatic. mzstatic. Each has more hits than you can remember—you can re-familiarize yourself with their very distinct but enduring catalogs by way of the official Snoop Dogg and DMX Cheat Sheet playlist, as curated by Apple Music host Lowkey. 2b0e6e332fdf4b7a91164da3162127b5? mzstatic. apple. mzstatic. mzstatic. mzstatic. mzstatic. apple. apple. mzstatic. mzstatic. Bush and the invasion of Iraq controversial opinions at the time, especially for their conservative fanbase. So it was coincidental in a way, but I think those things are cyclical. mzstatic. mzstatic. mzstatic. apple. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. apple. mzstatic. rgb. apple. apple. mzstatic. mzstatic. This is not what I wanted to do. Such themes might not be quite what you expect from a singer who, in 2019, got married to art dealer Caspar Jopling. There was so much unraveling for me to do over the last 10 years that I have a real backlog of things to talk about. I'd start all my festivals with that song. On this album, I was conscious that I wanted to start with something that was still hypnotic, but which didn't quite give away what the album was going to be. I got serpentwithfeet on the track because I wanted there to be a kind of beautiful disruption and I just had this instinct that I wanted him on the first track. I think I always end up associating things back to a person. Maybe it's a figment of my imagination. Something that holds me back or something that pulls me forward. It's just about an enigmatic thing. There was something about it. I did so many different bits and pieces with [English songwriter and producer] Jamie Scott. We did folk songs. We did ballads. We did dance records. Then it ended up just being this strange, disjointed track that was very synth-heavy. It has this really big chorus that's almost celebrating something that, ultimately, is pretty depressing. Just kind of being sick of this superficiality of everything, which I think has been driven by things like Instagram—I think it's a real thing. I suppose I also like the idea of a woman feeling empowered while singing this song, even though the lyrics suggest that she's been weakened by this unknown guy. It's a sexual thing as well. I just wouldn't. But at the same time, I feel like so many women need to be empowered with things like that, and need to understand not to settle for someone just because you need someone. I'm with this guy for the wrong reasons, and actually he just makes me feel like shit. I guess all along, it was because I wasn't actually feeling real love. I was just trying to make something more than what it was, and give it more substance. I was really inspired by the fact that she could create such a powerful song with just her voice. I'm trying to summarize why I think the way I do and everything that's made me who I am. That was a very honest moment there. I think I've always found it easy to be very honest and open about my feelings. Not necessarily in person talking to people, but I've always been able to write things down well. What I'm trying to sing about is that I don't think I've always treated people right, and I think that there's been some times in my life where I've been troubled and it's affected the way that I treat people, and the love I give people. I was destructive, and I think it was based on coping mechanisms of trying to pretend to be this person who was the most resilient about what was going on, and that the personality and the love, everything that I gave with that, wasn't right. All I know for me is that it affected my job—I was performing well, and I was selling records, and I was doing all that stuff, but as an artist I felt like I wasn't really giving my purest self. Or trying to rid yourself of sin. Vindication. Absolution. Those are the words I associate with this song. I feel like I've redeemed myself now, and it's time to move on. I was by myself, and I just came up with these piano chords. The song feels like a waltz. But to me it felt like a waltz where you're just dancing by yourself. It feels like a resolution. Like you've really found this amazing peace. This is one of my favorite songs on the album. Who knew that life could be so great by yourself? I've always taken up quite a lot of my album space for singing about other people. But I also made sure that the production didn't take away from the song in any way. It was the most simple way that I could really describe coming into womanhood. Naturally, that bothers me, and I think that instinctively, for all female artists, they feel like they've always had to try that bit harder or go that bit further, when in a fairer world that wouldn't have to be the case. I think people are finally waking up and there's a lot of change happening. And then just talking about my time in New York and telling this fairy-tale story about meeting this person. I want to go against the tide. I want to be with you even if it means sacrificing something. I was listening to The Blaze, and they have such empty lyrics, but at the same time, they're so meaningful. They just sing random lines that you would probably find in old pop songs, like ABBA songs. And then they would just put it over this really simple beat with a really euphoric sense. I love that idea. I've had quite a few people tell me that this is their favorite song on this record. It's me just talking, and it reminds me of when I've been drinking wine and I just roll out thoughts. That's usually how I end up with lyrics. I just say what I think. I remember just reflecting on feeling like there was something missing and I finally discovered it. You feel like you have to literally erase that person to not think about them. Obviously I don't feel like that now, but I still think about exes. And I'm really open with my husband about this. I wrote this song in LA, and there were a lot of these kinds of songs on the radio. I think I got it from that. To me, it's quite indulgent, because it's absolutely not good for you to do this. But songs like this are great to sing along to and great to indulge in grief and sadness and your ex and all that kind of stuff. So I suppose I used that license a little bit to write this. There are these textures and layers in classic music, and it's so beautiful. I had this guy called Ola Gjeilo, who is a Norwegian composer, play at my wedding. And he just makes such like beautiful music—stuff that really hits the soul. I don't know, it kind of appeals to the human in you. I was also conscious when I was writing this album that we were doomed and something was happening and the world was changing. I think a lot about the natural world and about how much we've destroyed it. For this song, I envisaged things connected with nature and flowers and all the beautiful things we associate the outdoors with. It was like a utopia—kind of like reaching this place of incredible enlightenment. Like my greatest revelation was like the fact that I've reached this point of ultimate independence. It's so crucial and it really is a recurring theme of the album. And I was in such a good place that I think that it was like a hyper kind of happiness. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. apple. mzstatic. mzstatic. rgb. apple. apple. mzstatic. mzstatic. Instead, they go to her. mzstatic. apple. mzstatic. mfwtjprs. 02b98f9d97e54709be8272fc297636a4? mzstatic. apple. mzstatic. mzstatic. We update this playlist every week, so if you hear something you like, add it to your library. mzstatic. mzstatic. mzstatic. mzstatic. apple. mzstatic. cttxtdtc. mzstatic. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. apple. f4d106fed2bd41149aaacabb233eb5eb? mzstatic. apple. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. The euphoric single surges with irresistible and triumphant electricity, with each singer showing off both their stunning vocal ranges and their flair for the theatrical. 2b0e6e332fdf4b7a91164da3162127b5? mzstatic. apple. mzstatic. mzstatic. mzstatic. abe8ba42278f4ef490e3a9fc5ec8e8c5? mzstatic. apple. mzstatic. mzstatic. mzstatic. Give it a listen, along with the latest from artists like Pop Smoke, Juice WRLD, and Gunna. Rap Life is updated often, so check back regularly, and if you hear something you like, add it to your library. 6bf4415b83ce4f3789614ac4c3675740? mzstatic. apple. mzstatic. mzstatic. mzstatic. mzstatic. I had a rough idea one night that I felt would be perfect for him, so I sent it over, and fortunately he was into it. He came to the studio a couple of days later to add his magic. 4b364b8b182f4115acbf6deb83bd5222? mzstatic. apple. mzstatic. mzstatic. mzstatic. This playlist is updated often, so if you hear something you like, add it to your library. 0e91490f3310408eb1186fc9befb3d11? mzstatic. apple. mzstatic. mzstatic. Songs and sounds of the moment, if not the next. 5ee8333dbe944d9f9151e97d92d1ead9? mzstatic. apple. mzstatic. mzstatic. mzstatic. mzstatic. Add A-List Pop to your library to stay up on the latest and greatest pop music. 28926c578a80475c904026ea97646ad5? mzstatic. apple. mzstatic. mzstatic. Every day new bands are taking shape and plugging in. These are the few that are destined for greatness. Formerly The A-List: Rock, this playlist is updated regularly, so if you like a song, add it to your library. 87bb5b36a9bd49db8c975607452bfa2b? mzstatic. apple. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. Allen and Nelly wrote the latter tune, full of references to small-town truck culture and affably easygoing swagger, with Zach Kale. Check back here early and often, and if you hear something you like, add it to your library. b7ae3e0a28e84c5c96c4284b6a6c70af? mzstatic. apple. mzstatic. mzstatic. The song—which arrives on the new deluxe edition of Chilombo and builds on what was once an interlude—captures the way romance can be the salve that carries us through. 0b593f1142b84a50a2c1e7088b3fb683? mzstatic. apple. mzstatic. mzstatic. So check back often, and if you hear something you like, add it to your library. fecfa8a26ea44ad581d4fe501892c8ff? mzstatic. apple. mzstatic. mzstatic. In other words, certain types of pop music can speak to the heart in ways that make you feel grateful just to be alive. From soaring ballads to surging dance anthems with touches of electronic and indie rock, here are the biggest tracks inspiring us today: the sound of good news. Our editors update these tracks regularly. If you hear something you like, add it to your library. 5cb9c0f3ca9d4fc1bccbaf67ca6201e7? mzstatic. apple. mzstatic. mzstatic. We'll update this playlist often, so if you hear something you like, add it to your library. 51c1d571cc7b484eb1dead1939811f2d? mzstatic. apple. mzstatic. mzstatic. Fortunately, heavy music's new class keeps plenty of huge riffs and rage-worthy choruses coming every week—and we've collected the best and most brutal of 'em here. Our editors regularly update this playlist. If you hear a track you like, add it to your library. 3a85cc83130443b68415718f19372cf4? mzstatic. apple. mzstatic. mzstatic. Lean back, relax, and enjoy. Our editors update these songs regularly. If you like something, add it to your library. 58c2477d86ea46db997048afd159d01d? mzstatic. apple. mzstatic. mzstatic. Our editors update these tracks every week. If you find a new favorite to crank, add it to your library. f820ed7063f9447f8751abf885525698? mzstatic. apple. mzstatic. mzstatic. mzstatic. We regularly update these tunes. If you hear something you like, add it to your library. 07405f59596b402385451fa14695eec4? mzstatic. apple. mzstatic. mzstatic. mzstatic. mzstatic. Rhythmically daring and emotionally intense, today's jazz is an art that perpetually surprises and evolves. Our editors regularly refresh this playlist. If you like a track, add it to your library. 5e76f64aca8d497ba86ad87f836f5894? mzstatic. apple. c3bb6e64c59a469dbf63ef893b57cfd2? mzstatic. apple. mzstatic. mzstatic. apple. apple. mzstatic. mzstatic. Bush and the invasion of Iraq controversial opinions at the time, especially for their conservative fanbase. So it was coincidental in a way, but I think those things are cyclical. mzstatic. mzstatic. mzstatic. apple. mzstatic. mzstatic. rgb. apple. apple. mzstatic. mzstatic. This is not what I wanted to do. Such themes might not be quite what you expect from a singer who, in 2019, got married to art dealer Caspar Jopling. There was so much unraveling for me to do over the last 10 years that I have a real backlog of things to talk about. I'd start all my festivals with that song. On this album, I was conscious that I wanted to start with something that was still hypnotic, but which didn't quite give away what the album was going to be. I got serpentwithfeet on the track because I wanted there to be a kind of beautiful disruption and I just had this instinct that I wanted him on the first track. I think I always end up associating things back to a person. Maybe it's a figment of my imagination. Something that holds me back or something that pulls me forward. It's just about an enigmatic thing. There was something about it. I did so many different bits and pieces with [English songwriter and producer] Jamie Scott. We did folk songs. We did ballads. We did dance records. Then it ended up just being this strange, disjointed track that was very synth-heavy. It has this really big chorus that's almost celebrating something that, ultimately, is pretty depressing. Just kind of being sick of this superficiality of everything, which I think has been driven by things like Instagram—I think it's a real thing. I suppose I also like the idea of a woman feeling empowered while singing this song, even though the lyrics suggest that she's been weakened by this unknown guy. It's a sexual thing as well. I just wouldn't. But at the same time, I feel like so many women need to be empowered with things like that, and need to understand not to settle for someone just because you need someone. I'm with this guy for the wrong reasons, and actually he just makes me feel like shit. I guess all along, it was because I wasn't actually feeling real love. I was just trying to make something more than what it was, and give it more substance. I was really inspired by the fact that she could create such a powerful song with just her voice. I'm trying to summarize why I think the way I do and everything that's made me who I am. That was a very honest moment there. I think I've always found it easy to be very honest and open about my feelings. Not necessarily in person talking to people, but I've always been able to write things down well. What I'm trying to sing about is that I don't think I've always treated people right, and I think that there's been some times in my life where I've been troubled and it's affected the way that I treat people, and the love I give people. I was destructive, and I think it was based on coping mechanisms of trying to pretend to be this person who was the most resilient about what was going on, and that the personality and the love, everything that I gave with that, wasn't right. All I know for me is that it affected my job—I was performing well, and I was selling records, and I was doing all that stuff, but as an artist I felt like I wasn't really giving my purest self. Or trying to rid yourself of sin. Vindication. Absolution. Those are the words I associate with this song. I feel like I've redeemed myself now, and it's time to move on. I was by myself, and I just came up with these piano chords. The song feels like a waltz. But to me it felt like a waltz where you're just dancing by yourself. It feels like a resolution. Like you've really found this amazing peace. This is one of my favorite songs on the album. Who knew that life could be so great by yourself? I've always taken up quite a lot of my album space for singing about other people. But I also made sure that the production didn't take away from the song in any way. It was the most simple way that I could really describe coming into womanhood. Naturally, that bothers me, and I think that instinctively, for all female artists, they feel like they've always had to try that bit harder or go that bit further, when in a fairer world that wouldn't have to be the case. I think people are finally waking up and there's a lot of change happening. And then just talking about my time in New York and telling this fairy-tale story about meeting this person. I want to go against the tide. I want to be with you even if it means sacrificing something. I was listening to The Blaze, and they have such empty lyrics, but at the same time, they're so meaningful. They just sing random lines that you would probably find in old pop songs, like ABBA songs. And then they would just put it over this really simple beat with a really euphoric sense. I love that idea. I've had quite a few people tell me that this is their favorite song on this record. It's me just talking, and it reminds me of when I've been drinking wine and I just roll out thoughts. That's usually how I end up with lyrics. I just say what I think. I remember just reflecting on feeling like there was something missing and I finally discovered it. You feel like you have to literally erase that person to not think about them. Obviously I don't feel like that now, but I still think about exes. And I'm really open with my husband about this. I wrote this song in LA, and there were a lot of these kinds of songs on the radio. I think I got it from that. To me, it's quite indulgent, because it's absolutely not good for you to do this. But songs like this are great to sing along to and great to indulge in grief and sadness and your ex and all that kind of stuff. So I suppose I used that license a little bit to write this. There are these textures and layers in classic music, and it's so beautiful. I had this guy called Ola Gjeilo, who is a Norwegian composer, play at my wedding. And he just makes such like beautiful music—stuff that really hits the soul. I don't know, it kind of appeals to the human in you. I was also conscious when I was writing this album that we were doomed and something was happening and the world was changing. I think a lot about the natural world and about how much we've destroyed it. For this song, I envisaged things connected with nature and flowers and all the beautiful things we associate the outdoors with. It was like a utopia—kind of like reaching this place of incredible enlightenment. Like my greatest revelation was like the fact that I've reached this point of ultimate independence. It's so crucial and it really is a recurring theme of the album. And I was in such a good place that I think that it was like a hyper kind of happiness. mzstatic. mzstatic. mzstatic. mzstatic. mzstatic. apple. mzstatic. mzstatic. rgb. apple. apple. mzstatic. mzstatic. Instead, they go to her. mzstatic. apple. mzstatic. mfwtjprs. mzstatic. apple. apple. mzstatic. mzstatic. under exclusive license to Atlantic Recording Corporation for the US and WEA International Inc. But at the end of the day, the 17-year-old me put 'see you when I'm famous,' and I made it. I made it happen. All the feelings that I'm talking about are in that track. That's the first time I expressed them, and there's no other way to start the album. Everything that's said on 'Bouncin' is something I needed to say, and I just feel like I wanted to use a song that was a little more cinematic and also that was exciting and had all the bars in it and just get everything off my chest. I loved it immediately. And then when I cut it, I sent it to Tyga, who I was expecting to take months and months and months to do it, but Tyga is such a professional, he just did it the same day. I was never used to that. Everybody I send songs to, it takes like three or four months to get it back, and Tyga just boom, that same night, got it done. She is a DJ, and she really puts me on everybody. She's the person who showed me Lil Yachty. She showed me Rico Nasty, and me and her have been big Rico Nasty fans for going on like two years now, and she also gave me the idea of flipping the Beastie Boys song because it has KYLE energy to it. And when we got it—because 'Girls,' the initial Beastie Boys one, is such a song for the homies, for the bros—we wanted to switch up the energy and add a female rapper to it. It just made perfect sense to add my favorite female rapper, and she killed it too. I went to the studio with her, and she just went in there and did her thing. I collaborated with a very special artist named The Drums—almost every song on this album, he had some part in. He either produced it or helped produce it or played something or sang background vocals—he's all over it. I wanted to make this album an ode to my past and an ode to Ventura, where I'm from, and Ventura is really a surf town. So I wanted to bring you there by sampling a bunch of surf rock stuff, so that's where the initial happy vibe came from. And then I had this beat for hella long and didn't know what to do with it, and one night, I'm in the studio and K CAMP gets in there. I'm trying to play K CAMP just a bunch of regular trap beats—he doesn't like any of them. And then I played that one, and I was like, 'I got this really weird one. I don't know if you're going to like it. ' And he was all like, 'Oh man, that's it, that's fire. ' And he just led the journey on that. It was tight—I felt like I had my big brother with me almost teaching me how to rap in a sense. And then I sent it to Rich The Kid, and he was a professional about it too, did it and got it done right away. Jonny from The Drums, who collaborated on everything, sent me 'Forget. ' At first it was just his hook, and it was the beat, and we flipped it into a trap song. That song is really special to me because I feel like it really embodies more of the pain of the project. Being famous is awesome, but it also means you have to leave people behind, and you have to forget in a sense. I really love the fact that I got to introduce Trippie Redd to The Drums' music and introduce Jonny to Trippie Redd, because Trippie Redd loves rock music but hadn't heard of him, and Jonny loves Trippie Redd now. It was just tight to make a really unique collaboration, and Trippie killed it—he was perfect on the hook. And then iann dior, who is also super awesome, I met him one night at Rolling Loud, and he was perfect for it too. That one was like butter, literally came together and it's perfect. I feel like the music gods are really happy about that song. That is the trajectory we're on. And then the other side of being famous comes with all these emotions of leaving people behind, them feeling attached to you, and then you essentially feeling resentment. I think that's what 'Over It' talks about—me and my relationships that I had to leave behind in my hometown and those people being mad at me and then me just being completely over it when they're trying to rekindle those relationships. That's the emotional story behind it. But musically, it was made by this dude named Happy Perez and my homie Naz, who also produced pretty much every song on this project. He had a hand in almost everything. They just killed it. Happy Perez played me that guitar loop and I was like, 'Bro, this is it. You don't have to do anything, just send me this. ' That song doesn't have any drums on it, it's just the loop. That's one of my favorites. I think a part of growing up is learning how to have something not work out the way you wanted and being able to live with it and accept it for what it is. I feel like it really sums up me as an artist really well. Produced by Mick Schultz, the god. I go to his studio, and he starts asking me what do I want to do. And I was like, 'I want to make surf music, like beach music, and I want to figure out a way to trap it out. ' And he was like, 'Man, that's cool, I like that. Matter of fact, you know who you remind me of? James Taylor—you sing like James Taylor. ' And I didn't even know who James Taylor was—I look him up and James Taylor's just like some old white guy. And I was like, 'Okay, I don't know what to do with that, but I feel you. ' And then he was like, 'And on the surf vibes, you know what we need to make music like? Jack Johnson. ' He's Raphael Saadiq, so obviously he knows what he's talking about, and I can't question him on it. So I went home, listened to some Jack Johnson, came to the studio two days later and was fully committed. And then Raphael just starts playing the guitar and playing the keys and playing the bass and just starts creating the prettiest song I've ever heard. It all clicked and started to make sense. I was like, 'Whoa, we're really about to make a pretty song. I get the whole Jack Johnson campfire vibes now. Now I get what he was talking about. ' I think it's the prettiest song I've ever made. And then Bryson—I thought, damn, I have this beautiful song. I can't just let anybody get on this. And there's no better songwriter in the game than Bryson Tiller. But that right there is the problem with the youth and the OGs not collaborating enough. You know what I'm saying? Because I should know about James Taylor, and if I kicked it with people like Raphael Saadiq more, then I would. And so that's one of my favorite things to always do and something I always try to focus on is bringing the OGs with the youth—putting Bryson Tiller and Raphael Saadiq on the same song. It's really like I miss who I was back then, and that was something that was important to me when making this album was getting back to who I am. And I think the me in high school was so undefeatable. That's where the Super Duper Kyle was born, that 17-year-old that just knew he could do anything. Before I could take any more steps forward in my life, I felt like I needed to go back and find what was in him and take a little bit of that and bring it with me. Because it's inevitable that your life is going to change and you're going to go to different places, but you've got to keep your core with you, and this song really gave me a chance to express that the right way. I miss my mom, I miss sneaking into her house, I miss my friend Mr. Man, who is my best friend and my rapping partner my whole YouTube era. I missed a lot of people, I missed my family, and most importantly, I missed that youthful version of myself. I live in Hollywood, I'm in movies, I go on tour and go around the world, and I'm so removed from my center that I just wanted to talk to all the people from my past and ask them what they thought about what was going on or just get their view on things. And Mr. Man, who is my best friend from childhood, gave me the best advice of everybody. And when he said it, I was like, 'This is what I needed to hear,' because you struggle with confidence and shit when you forget yourself and you forget who you are. And he was telling me, 'Bro, with this album, you've gotta just have fun and just feel it. You gotta take it back to when you were just doing it for fun, because you've always been raw, it's never left you. Don't ever question if you're awesome and start trying to do the extras. Just have fun and it's going to be fire. ' And when he told me that, I damn near cried, because I had forgotten that. You start taking shit so serious that you forget the point, and yeah—'A Message From Mr. Man' is the most vital track on the project. I loved Big L and Jadakiss and The Lox. Jadakiss and Styles P going back and forth is my favorite part about hip-hop in general. And me and Mr. Man used to do that all the time. And I think how the journey [of the album] goes is he has this idea of being famous. He starts off super broke in 'Bouncin,' then he gets there in 'Money Now. ' He finally has all the girls and feels like 'Yes, I have everything. ' He has to forget his relationships and move on. There was a quarrel with that, and then he finally accepts it in 'What It Is. ' Sorry—I think about my albums and shit as a chronological movie. 'The Sun,' it's like he makes up for it and just wants to get back to a place where he loves those people. 'Bye' is like he finally realizes the person that he needed to heal was himself and really expresses all the things that he went wrong on. I think 'A Message From Mr. Man' is where it clicks, and then 'Mr. Man and K. D' is me at peace. It's me being the 17-year-old version of myself again, just having fun with my friend. And I think that's just the perfect way to end the album, because it's like he made it. He was going on a journey trying to reconnect with himself, and he got there. It definitely represents the album—it's called 'See You When I'm Famous'—but it was a song I fell in love with and I had to put on here. AzChike happens to be one of my favorite rappers—my girl actually showed me AzChike. So once we had the AzChike song, it was just me and him at first, it made sense—like, let's connect him with one of his idols. Let's bring him to somebody he loves. I made it happen. mzstatic. mzstatic. apple. mzstatic. qksjskue. mzstatic. apple. apple. mzstatic. mzstatic. The 27-year-old alt-pop-rock eccentric fancies himself a visual artist who just so happens to make music as joyful and strange as his signature look: JNCO jeans, a bowl cut, and a face so expressive it reads like a meme come to life. This song, to me, is about how I'd rather say some stupid things in my life than say nothing at all. At this point, I'm currently working on learning how to filter my thoughts so that I can be a little more fine-tuned with it, but ultimately, I'd rather say something than nothing. It can be a bit much, but it does make for very honest reactions. I don't really listen to music. The only real artist who I fuck with at this point is Little Ricky ZR3. This dude is totally in his own world. I sincerely feel in the next few years, he's going to be the biggest artist on the planet. The song is really about growing up. I spent my whole life falling on my face, but I never let that stop me. I was given the name Oliver Tree at my birth. I was born in 1993, but it somehow took me 27 years, until I finished this album, until I realized who I was. That and my backpack fits my entire life. If you think you need money or material objects to be happy, then I honestly think there's something wrong with you and you are sick in your head. We waste the best years of our lives chasing after money so that we can buy all these things we don't need. It's absurd. I had to cancel [my album release] due to COVID-19. I couldn't share this without the proper visual support. And so ultimately that song is really an apology to my fans. I let a lot of people down when I had to cancel the album. I lost 150,000 Instagram followers over the course of a few days. I let people down, and I wrote the song to ask for forgiveness. Ultimately, if they forgive me or not, I don't give a fuck. They can do whatever they want. It's not my problem, but it was just a nice memento. You got to go out there, you got to get your hands dirty, you got to fall on your face. If you want to do it, you got to follow my three-simple-step formula: One, wake the fuck up; two, get your ass off the couch; and three, go do that shit. This comes down to one experience I had in elementary school. This kid at my school, his sister was drowning. His name was Danny Stromboli and his sister was in the lake and she couldn't swim. She's out there by herself, she's screaming, and there was no lifeguards, nothing. So I run out there, jump into the water, I reach her, I bring her back into shore. And I realized, what if someone just prayed for her to come back? It's like, am I going to wait here hoping someone's going to come save this poor little girl or am I going to go and save her myself? I thought I had overdosed and I was convinced I had died. I watched my whole funeral take place. I ended up running naked through the desert for about six hours and I nearly died that night. I went through a period of dealing with drug issues, and that was my rock bottom. After that experience, I realized that was not the way to live my life. Instead of being consumed by drugs, I became consumed by music. The trouble with getting off drugs or changing your lifestyle is that you don't have something to fill that void. I was very fortunate that music was there. The human experience is extremely strange. Most of us feel like aliens at some point. We feel like an outcast, but at the end of the day, who wants to be normal? This song is really about embracing our true selves and really letting your true self shine. I've seen the way people treat you for looking different, for being a little 'outside the box. ' I've seen the toxic energy that exists in the way that people project their own insecurities and their own unhappiness on others. I'm able to accept myself. Flaws make me beautiful. They make me me. Our patterns tend to repeat themselves, some for better, some for worse. If we don't learn from the mistakes, we will repeat them over and over again. But the human brain is so powerful that it can pick out whatever these negative patterns are and it can actually start new and improved patterns. We have the capability to re-hardwire the brain. You can go from a drug addict to being completely sober. Nothing happens overnight, but it starts with recognizing an issue. He did a violin, viola, and then he also doubled it with the cello, which was incredible. As far as the song goes, time is the most precious, coveted thing in existence. There really isn't enough hours in the day to do what we need to do. One thing I will say is do everything you want to do. Your time here is extremely short, and that needs to be taken with great understanding. I made it there with him and my engineer. But as far as the song explanation goes, I think we've all met a jerk or two. We all know people that we hope we'll never see again, but it's important to understand that we've all probably been jerks at some point in our lives, as well. I did that for a couple of years. During a semifinal run, I was going down this 25-foot roll, at 35, 40 miles an hour. I was going balls to the wall, and out of nowhere, this little fucking pebble shows up. I hit this thing. I go flying roughly 12, 13 feet. I put both my hands out to break the fall, and sure enough, I break my left wrist, I break my right wrist, I break the joint that connects my thumb to my hand. I had a concussion. There were some minor abrasions. My right hand was less usable, but my left still had some good fingers, so I started learning how to produce. I spent the entire scooter season—five months—locked up in a bedroom, just writing music. Sometimes we have things we want to keep to ourselves, things we don't want to share with others. Sometimes we just don't have the right words. Sometimes those words don't exist. Sometimes we make assumptions. Sometimes we, in our head, make up a million scenarios, and it's not the best way to go about things. Don't overthink it. Don't try to spend too much time trying to think about how it's going to go wrong. Just put your bootstraps on, buckle up, buddy, and go in there, do it. This is the first and last Oliver Tree album. It was fun while it lasted, but this industry is too much for me and this is not what I want to spend my life doing. I don't want to be a 60-year-old guy with a bowl cut dancing around onstage. I can't do this anymore. I'm going to be segueing on to the next portion and moving out of music. At this point, I have no interest to make album after album for these snotty-ass fans and people who literally talk shit and make my life miserable for this art that I've dedicated my whole life making for them. I'm fucking done. I am out. It was fun while it lasted. apple. mzstatic. cxpossjq. mzstatic. apple. apple. mzstatic. mzstatic. apple. mzstatic. mzstatic. apple. apple. mzstatic. mzstatic. mzstatic. apple. mzstatic. hlnklmxc. mzstatic. apple. apple. mzstatic. mzstatic. And I think you'll hear that with upcoming releases more. 'Daydream' felt like that perfect feel-good track to return back to. I think The Aces always try to start and end everything with a good vibe and something that's going to make everybody happy. So we were really conscious of making that the first track that our fans hear off the new record. It has that quintessential Aces fun, even deeper explored. We wanted to keep that one very funky. I remember we were sitting in the studio and how something like leaving it left unread can wreck your mood for a few hours if not your day. If that person that you like switches up that energy on you and they don't respond to your text or something, it's easy to get caught up. We're on our phones all the time, and we're almost tracking each other in a weird way. We have read notifications, or you can look on Instagram to see if they're online. It's so crazy how that affects our relationships with each other—and how that brings on a lot of anxiety for a lot of people. It's definitely been something that at times has made me want to rip my hair out completely and be like, 'Ah, I want to be present. I want to live my life. This stuff isn't important. ' So it kind of felt like we were channeling that frustration into a song. The story is painted out there for you as to what happens. There's not many metaphors in that song, which I love about it. You don't have to guess, we're just giving you a journal entry—a situation that happened. It feels very, very vulnerable. Also, it feels kind of Santana-influenced with that guitar solo that comes in—and it feels very beachy. I know it's stuck in my head all the time, and I love that we were able to even push the types of stories we are telling. They're more honest than ever, and that makes them more relatable. I think everyone's had a Kelly in their life. Like, 'This is who I am, being very confident and verging on cocky. ' I think that you don't see women do that enough. It's this exploration of owning yourself as a sexual being and not being apologetic for that. And that felt really important for us as adult people to explore that side of ourselves, and to be more mature on this record. This is the first experience I've had where Cristal brought back a song that I wasn't a part of. The first time I heard it, I was absolutely in love with it. It had this desperation to it, and this honesty that felt like a knife in the heart. You can hear the emotion on it, the betrayal that she's feeling on the track. Those kinds of relationships that just put you through the ringer and they leave you feeling dazed and confused. What even happened? Also, that's the first song where there's kind of this apathy, but also a lot of pain underneath it too, of just, 'Did it even mean anything, that relationship? ' I loved exploring that. That was one of the most therapeutic songs for me, personally, to write on the record, to get all of that out and process. Because a lot of things about Utah that we come from, our lifestyles and who we are as people, really decide the culture here. The setting for it when we were writing the lyrics was this gay club that's in the middle of Salt Lake City, which is a very religious town. I remember the first time I ever went to that gay club with all my friends, and it's so interesting to see all of these kids that went to the same high school as me and that I grew up with in the rural-based community, that is very religious, breaking away from that and accepting ourselves and people. We've seen kids that I went to high school with that were out as gay now, and I didn't know they were gay. And people that I knew that were transgender, all in the same place celebrating that uniqueness within the middle of this city coming from this place that's always told us that was wrong, but us defying that. I remember we played it for a couple of friends of ours, and they're like, 'Oh my gosh, I feel that so much. ' And they were not from Utah, they were from all over the world. They think this song is about owning your uniqueness and not apologizing for it, regardless of who tells you otherwise. Just being like, 'These games, they're not even hurting me anymore. They're boring. I'm literally bored of this nonsense. So I'm just as valuable, I'm just as sought out. I can break your heart, too. Don't think you're special. ' It's also about how a confident person handles fuckery, or handles someone trying to diss them. It's like, 'Okay, you're going to act like that to me? Well, I can act that way right back. Just imagine yourself in the summertime driving with your friends. We wrote this song when we didn't live there yet. We were traveling back and forth almost every other week to write music, starting to experience what it was like to be in LA regularly before eventually moving. I think a lot of people, when they move out of their own town and go to a new big city, are trying to figure out who they are and are trying to create and navigating growing up. It can be really easy, especially in a city like LA, to feel swallowed up and have these experiences that paint the city for you. I remember I went through a pretty bad heartbreak when I was in New York for a while, and I remember hating New York for a few months. I wanted to get out of there. But now I love New York. So it's so interesting how our experiences taint cities. Alisa and I wanted to explore the tortured relationship that we were having with LA at the time, of not feeling like we were fitting in and being able to get our footing at that time. Sometimes in life, relationships don't line up and it's not enough for whatever reason—that sentiment is so heartbreaking. The feeling of it was inspired by Selena. We grew up listening to a lot of her music and feeling, like, 'Bidi Bidi Bom Bom' and all those songs that were on as kids all the time. So we wanted to use a little bit of that inspiration as well. This is one of the songs I'm the most excited for the world to hear. Just get it out. Whether or not we use the song or not, don't think about it. Just pour your heart out into this and voice how you're feeling. ' I was having a hard time being creative because I was so sad about the situation and this person. I felt charged up from that, and Alisa and I sat down and out came 'Cruel. ' When I listen to that song, that's probably one of the closest songs to my heart on the whole record, because I let go of so much through that song. Then when you hear the song for the first time, you feel that so clearly. You can almost feel that moment being put down on paper. And it's one of those songs I feel like that just hits your soul. You can feel it so deeply. I'm still thinking and dreaming of this person who will be good for me. ' It has this doo-wop kind of swing to it that adds a fresh flavor to the record. Alisa and I always laugh because there's a couple of songs we always say they're blackout songs, where we go in the studio, we write them, we leave, and then we get a demo back and we're like, 'Wait, we wrote that? I don't remember writing that, that's amazing. ' You kind of have this creative blackout and then you go back and listen. I think we always want to keep our fans on their toes, surprised and hearing new things from us. It's a total love letter to that person in your life, specifically for me, my girlfriend. It felt like a safe space to be able to go there and really pour your heart out onto the track. We don't do love songs very often. I think that we, as artists, our motto is, 'We always want to do things that you don't expect us to do. ' We always want to push things and we always want to keep ourselves excited, as well as coming back with songs that people might be like, 'Oh shoot, they're using different kinds of sounds. That's a total different sound for them. It feels like a song that you want to end on, and it feels like a celebration. The type of music that everyone kind of needs right now. We wanted to bring it back down to having family around you; friends and someone you love dearly is way more important than any of that. I feel like they would explore topics like that all the time. It's very classic-sounding. apple. mzstatic. mzstatic. apple. apple. mzstatic. mzstatic. Two years later, she was still drawing a blank. Once I knew what to do, the process was quick. Get to the last song on this album and you will know that I am totally fine! With each song, I realized that I could do it—that I could finish something I was proud of. As for the repetition of lyrics in this song: I really like poetry, and I was influenced by some of the poetry I was reading at the time and the idea of repeating a word to give it this whole different meaning. I wanted it to be reminiscent of that—like a night out where you meet someone and there's this hazy, wondrous, excited feeling that you can't quite describe. I worked with [British songwriter and producer] Bruno Major on this. He's just the most amazing guitarist, and when I heard the music, it just made me feel like I was on a date. So it had to be about what it's about. And I want you to know that I believe it could be that. And because of the sound of the lilting guitar, it always felt like a cartoon conscience to me. It feels very animated, but with some quite serious themes at the center of it. I was still very optimistic and everything is still pretty good. The music makes you bound a bit. I think it ended up being the perfect balance. I was falling asleep four years ago and I just heard that guitar part. Should I record this? Should I just sleep on it? It stayed that way for a long time. Anytime I would get a moment alone—say on a plane or something—the lyrics would start to make themselves apparent for the song. I think this one is maybe the most intimate and most vulnerable that I get, because the person is talking really candidly with the other person in the song. The pain is starting to show about how hard it can be when the person you're trying to love is maybe not in the same space as you, or maybe hasn't dealt with some things that they might need to deal with. I'm not saying I'm perfect. I'm not saying the narrator is perfect. But it's recognizing the pain of somebody you really care about and wanting to help them, but not knowing how. Again, I thought sonically it would be appropriate to just have barely anything on it. And it's really all about the lyrics and the groove. I wanted there to be a definite line under the first section of the album. When I first made an album, I had no idea how you would pick the order. How do you put your first album together? How do you know what to say first and last? And a piece of advice that I was given was, just think of it like it's a vinyl. Side A and side B. So every album now, I've always just thought of side A and side B. And this one is the first one that is actually a full story that you can have a beginning, middle, and end. And for me, that is the middle, the absolute middle. The first time I played this song was at Glastonbury back in 2013 with my band. Somebody put it on YouTube, and I just loved this version. I was so happy with our arrangement. So that's how it happened really. It just sort of all clicked in my head and everything felt right lyrically and with the personnel. I grew up on all of that stuff. I love how it makes me sing too. I did it with a dear friend of mine, [US musician] Nick Hakim. I could spend days with him. This one felt special and just said everything it needed to. He has amazing instruments available, amazing textures. And he's just such a brilliant producer. I just love every single choice of sound he had. I was just like, yeah, that's great. So this song has ended up quite thick in texture, but I love that, because it's quite contrasting with the rest of it and I really love that style. I was able to just chuck loads of stuff at it, and it never felt crowded. I was on a bit of a journey, I think, at this point, and I was finding my confidence and finding my own voice again. I was having an okay time. And then at the same time, again, I was listening to loads of Brazilian music. And then I also got to give a piece of my mind in the lyrics. Once the demo was made, my band did their thing on it. I just love the groove, I love the chords, I love the melody. I love the lyrics. I love everything about it. I love the flute solo. And during one of my darker times over the last few years, a friend of mine recommended that album to me. And then I wrote this song, and it wasn't going to be called that for a while. But then that word is just such a good word. I guess the song takes you to the most vulnerable point of just admitting that you're lonely and it's really hard and it feels like the pain is never going to end—even if it might've been your decision. It was a particularly confusing type of pain. He's just an amazing guitarist and songwriter. During those five years where everything and nothing was happening, I was doing a writing camp—I think, basically, my label panicked and wanted to give me the tools to try and make music. I ended up in the studio with lots of incredible musicians, but not much of it was right. One day, I remember I was feeling particularly alone in this process and I called Joe. Please will you come to the studio? And we just wrote that thing in about 10 minutes. That was my piece of beautiful treasure from that weird time creatively that I was having. We always wanted to get one of them onto a song. And that one just seemed appropriate. It's your journey, it's your issue, your cross to bear. For me, this song is all about the self-love and the self-care to restore yourself after whatever monumental derailment. I think it's ultimately a positive ending. But also, I wanted to have that long outro as well, to represent the ongoing work that the person is doing on themselves to improve things. The song is fully live—we all were playing together in the room, and it just feels like I should have done that earlier in my career. With each piece, I got stronger. mzstatic. mzstatic. apple. mzstatic. mzstatic. apple. apple. mzstatic. mzstatic. Entertainment Inc. apple. mzstatic. pnznengk. apple. apple. mzstatic. mzstatic. apple. apple. mzstatic. mzstatic. mzstatic. apple. mzstatic. ummfktcx. mzstatic. apple. apple. mzstatic. mzstatic. apple. mzstatic. mzstatic. apple. mzstatic. afirdziy. mzstatic. rgb. apple. apple. mzstatic. mzstatic. apple. mzstatic. mzstatic. apple. apple. apple. mzstatic. mzstatic. apple. apple. apple. mzstatic. mzstatic. rgb. apple. apple. mzstatic. Goodman, under exclusive license to UMG Recordings, Inc. apple. mzstatic. inhabool. mzstatic. apple. apple. mzstatic. apple. mzstatic. mzstatic. apple. apple. apple. mzstatic. jntodeun. mzstatic. apple. mzstatic. osawckmk. apple. mzstatic. ujykwrix. mzstatic. apple. apple. mzstatic. mzstatic. apple. mzstatic.

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