Features, Friday Night Dinner Discussions

Hilary Duff’s Metamorphosis: A Discussion

One fateful evening in 2012, kismet pulled Reina and Gauraa into a porch conversation about Bishop Allen. They realized, despite having grown up 8,657 miles apart, they had listened to the same records, subscribed to the same podcasts and shared the same pretensions. Separated by distance again, the two have decided to pull all the stops necessary to preserve their insular culture of staying in and overanalyzing music. You can read their first dinner discussion here. Tonight, Reina and Gauraa cancel their plans to discuss one of the records that brought them together, Hilary Duff’s 2003 release, Metamorphosis.

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Gauraa: Ah, Friday night. What grand plans did you cancel, Reina?

Reina: I cancelled plans to go out on the town and meet some new people, because blowing off plans is more fun than sticking to them, right? In all seriousness though, how could a person pick anything over gushing over and potentially ruining an album by the actress formerly known as Lizzie McGuire? Anyway, what exciting plans did you ditch to hang out with me and Hilary tonight?

Gauraa: I was supposed to Skype my boyfriend but I came clean, told him that Hilary comes first. And, well, if he “can’t do the math” he should probably “get out of the equation.” He was really confused. He doesn’t know who Hilary Duff is.

But, without further ado, let’s go back. Back to the beginning. Kids: before Hilary Duff’s career as a professional Tinder advocate, before her fictional career as a book editor on TV Land’s “Younger,” before her real-life stint as novelist, before her marriage to/ baby with/ divorce from Mike Comrie [pauses for breath] even before her very controversial relationship with Good Charlotte’s leading man Joel Madden, Hilary Duff was a Disney teen idol. She was the teen idol–she was Lizzie McGuire. Unfortunately, to Disney Channel and our dismay, a teen-sitcom couldn’t last forever because…well, teenagers grow up. And so we all did the next best thing we could do: we let Lizzie McGuire, straight-B student, graduate Hillridge Junior High to play Hilary Duff, straight-B singer.

To question the merit of Hilary’s songs and vocal ability, the nexus between her Craft and Purpose, always seemed besides the point. This album was her “metamorphosis,” if I may say so, and every girl our age with a running BOP! and/or Tigerbeat subscription wanted front row tickets. In a lot of ways, Hilary was the last cool “good girl,” no? I mean, she was nice. Really nice. She was notorious for proclaiming early on that she’s “saving herself for marriage” (though she was also dating a 25 year old when she was 16, so…) and her songs were peppered with subtle Christian references like, “You’ll never get to Heaven/ Or even to L.A./ If you don’t believe there’s a way.” (Also see: “Someone’s Watching Over Me.”) Hilary was cute, approachable, conscientious, blonde, perfect. She didn’t drink, she didn’t smoke. She was never caught stripping on the streets or lip synching. She was good during a time being “good” was still cool. I loved Hilary. I still love Hilary. But I don’t think my love for her stems from her, um, musical career. It’s safe to say she was kind of what you fell into. Going out and buying Metamorphosis didn’t feel like a selective process; it was a requirement. If you didn’t know all the words to “So Yesterday,” you’d feel alienated from your peer-group. Or at least that’s what it seemed like at the time. Hilary Duff, or the version of her being sold to us, was a virus. I was infected. It’s kind of vindicating for me (and I’d imagine for for Hilary as well) to revisit this album, even if only to leaf through old interviews and really see through it: a bunch of label salarymen trying to monetize the image of a perfect young girl by suppressing the growth of a burgeoning woman. It makes me feel invulnerable, almost.

Wow I think I may have accidentally uncovered a deep-seated childhood issue? Oof! Not at all what I thought I’d be bringing to the table with this album! Tell me how you really feel about this, um, Metamorphosis, Reina.

Reina: I know exactly what you’re saying and it pains me to come to this realization that Hilary Duff is not the picture perfect role model I thought she was. Well, I mean, she is a perfect role model, but that’s essentially all she is. 

I remember that one of my best friends in middle school and I would always put this album on, long after we had “outgrown” it. We’d sing along to it at the top of our lungs, while giving each other makeovers, like, every weekend. We never once took a second to think about the songs, and how… surface-level they were. They talked about all these “problems” but it had the depth of a Disney Channel show, you know? I mean, suffice to say that Hilary Duff’s career was the Disney Channel, if that makes sense.

I’m realizing now that I have no idea who or what Hilary Duff really is. I can’t sum her up in a sentence, like I can with Ashlee or Avril or Britney. It’s a little more complicated because while she’s not concretely anything, she’s also everything all at once. And I think that also reflects in her music. I guess if anything, looking back on this album today is motivating me to really establish who I am. I don’t want to look back on my life, only to see shallow statements that I said because I knew that’s what people wanted to hear.

I have nothing against Hilary’s career as a yes-man, or rather as a puppet that seemingly did as she was told. And I still love this album, but more so all of the memories I have attached to it and the countless makeover sing-a-longs I had to it. Like you said, this definitely was not the sentiment that I thought we would have revisiting this album, but in a way, it’s kind of interesting to see how much we’ve grown and changed over time.

“So Yesterday”

Profound Genius annotation: “So Yesterday” is the lead single from Hilary Duff’s debut album, Metamorphosis. The song peaked at #42 on the Billboard Hot 100.

Best lyric: “How can you hang up if the line is dead?”

Gauraa: Did I sing along to “So Yesterday” whenever someone put it on? Yes. Do I know all the words to it, still? Yes. Will I still sing along whenever someone gets drunk and decides to troll Spotify at a Thing? Yes. But you know, I’m kind of disgusted by it now. Avril was all the rage in 2002, and it seemed fitting for Hilary’s label to recruit The Matrix, which is the moniker under which the songwriting trio of Lauren Christy, Graham Edwards and Scott Spock operate, to work on her big single. But when you go back to read what Hilary had to say about the song, you could tell she was being fed certain words by her mom/PR team: “Duff herself has said that when she first heard the song, she did not really like it; however, her opinion changed after she listened to it more often. She then decided she would give the song a ‘100 percent’ and not comment negatively of it. According to her, she ‘ended up loving it,’ stating, ‘It was such a fun song, and it means a lot.’ Bob Cavallo, chairman of Buena Vista Records, said that the song was ‘more mature than the past work that she’s done.’” This whole catalogue of information leaves me feeling very uneasy. I mean, here was a teen icon who was kind of saddled with an image of who she was “supposed to be.” And we, equally unknowing, probably in our pre-teens, ourselves, were supposed to laugh as Hilary cleverly made people pose in her fictional ex’s “Everything’s bigger in Texas” t-shirt. And we did. It’s kind of sad.

Reina: I could swear that the last time I listened to this song, it had a higher production value. I had to double check that my headphones weren’t dying on me because the intro to this song sounds terrible. Sorry Hil. But all shitty intros aside, this song is very Avril circa Let Go, which, well, obviously was the work of The Matrix (the producers, not the movie franchise). I guess this was supposed to be Hilary’s big step away from being the good, nice girl. Because I mean, “Can you see a single tear? It isn’t gonna happen here”? Our girl is so over this dude, it’s almost a little mean. I can see why Hilary might not have liked the song to begin with, but I’m disappointed to hear that she fed into what Demi Lovato might call the “La La Land Machine” and gave the most generic, shallow comments of all time. Also, speaking of generic and shallow, can we talk about the lyrics of this song for a second? “If the light is off then it isn’t on.” Who was the genius that got paid a hefty sum of money to write this line??

Gauraa: “If the light is off/Then it isn’t on” is just…well, lazy. It seems like they just shrugged it off and were, like, “Who cares? Not the ten year old girls listening to this record!” On a slightly more chipper note, you know who really loves this song? Miley Cyrus. I believe her song “You’ll Always Find Your Way Back Home” is a direct reference to this song: “You can change your hair/ And you can change your clothes/ You can change your mind/ That’s just the way it goes.” Don’t ask me how I know this.

Reina: Wow. That’s not even subtle? Either it’s a direct reference or a ruthless robbery. But who knows? In the music industry of today, referencing another song without paying money is the same thing as stealing it, right? I wonder if this is a good time to admit that I never saw the Hannah Montana Movie. In a way, Hilary Duff kind of seems like a Hannah Montana that was never fully able to transition into a Miley Cyrus, if that makes sense. Also, at this age, is it still acceptable to watch that movie? Or is it a little creepy? All tangents aside though, as much as we hate on and feel disappointed by this song and all that comes with it, it’s not going to change the fact that I will sing along at the top of my lungs when this song comes on.

Gauraa: These songs are almost like karaoke, no? You hear that familiar four-bar intro crackling through a bar stereo, and whether you’re drunk or not, a sense of “if you can’t beat ‘em, join ‘em,” if not nostalgia or sheer inebriation, suddenly prompts you to sing along.

PS: The Hannah Montana Movie pales in comparison to the The Lizzie McGuire Movie. Like, whatever happened to the classic Disney “Roman Holiday” remake? But Taylor Swift made a cameo and there were horses. And it starred the kind of teenage boys the thirteen-year-old you would find attractive if you lived in a mannerless city, secretly yearning for some of that suburban small town charm. So, yes: you’d fall victim to my judgement if you watched this film in 2016.

“Come Clean”

Profound Genius annotation: Instead of letting outside sources define her, Hilary is shirking the external definitions and seeking her own personal truth to color how she lives her life.

Best lyric: “Trying to fit a square into a circle was no life”

Gauraa: Yes! My favorite songwriter paring! John Shanks! Kara DioGuardi! Unfortunately, however, this is one of my least favorite songs to have come out of said wondrous collab. The truth is, you can fit a square into a circle. And that this song is kind of boring. I remember getting bored of this song even back in the day. I’m wondering now if I even liked this album at all? And, yes, I know this was the theme song for Laguna Beach. Never seen it. Don’t intend to.

Reina: When I was in 4th grade, I was in this religion class where our teacher really wanted us to apply bible concepts to our everyday life, so she had us make up lyrics to songs that we know that had to do with The Beatitudes. So we all paired up and picked a song to make up religious lyrics to. I thought it would be funny to pick “In Da Club” by 50 Cent, but my friend didn’t want to fail the class, so we ended up picking “Come Clean.” And so, I’m not even kidding, we made up a song about The Beatitudes to the tune of this song.

Gauraa: And then the rain came down like it was National Baptism Day? It’s so strange, revisiting these albums, it really is. An excerpt from an interview: “Obviously [this song is] about a boy and a girl’s relationship and it’s just talking about how somebody thinks they’re in the dark.” Sixteen year old Hil then goes on to justify why she likes “Come Clean” so much: it’s more mellow than “So Yesterday” but “it’s not really pop. It sounds sort of like techno, but it’s slow. It’s really cool.” Ugh.

Reina: But even Hilary Duff today is not quite the vibrant personality that you would assume from her brightly colored hair. Sure, she’s a little more honest, but a part of it still seems a bit ingenuine doesn’t it?

Gauraa: I mean, her character on “Younger” makes a lot of sex jokes. And in a recent Cosmo interview, she talked about how she’s still preoccupied with her reputation because of her good girl past. She doesn’t come right out and say it but there are a lot of implications that her momager/PR team stifled her, making it hard for her to be completely honest with the press, sometimes even at the cost of her own personal life.

Reina: I mean even thinking strictly about the music she’s putting out, “Chasing the Sun” and “Sparks” didn’t quite scream, ‘This is real, this is me”? It’s more like she’s able to reinvent her identity many times over to fit whatever it is she’s working on, if that makes sense. Like, I’m not sure I can put my finger on who Hilary Duff really is, you know?  

Gauraa: Well, I think the whole persona of “Hilary Duff, singer” was half-baked, intended solely to monetize her career after Lizzie McGuire. She was never an “artiste.” I mean, let’s take some of her contemporaries like Ashlee Simpson or Avril Lavigne for example. Ashlee had a conception of who she wanted to be: a contemporary, glossier take on Courtney Love, Joan Jett, The Runaways, etc. And Avril had her “punk princess” persona to fall back on. Hilary kind of appeared out of thin air making whatever people told her to make, which was often an extension of Lizzie McGuire itself: bubblegum pop. There was never an “artistic foundation” to Hilary Duff, and that is, in part, why both of us are finding it hard to fathom why she was such a huge sensation over a decade ago.

Reina: Maybe it’s because “feminism” and women being in charge of their own destiny wasn’t really on our radar at the time. Now that we’re “woke,” nothing that we accepted blindly makes any sense anymore. And you’re right, she was, and is, bubblegum pop through and through.

“Workin’ It Out”

Profound Genius annotation: N/A

Best lyric: [Spoken Interlude 1] “Oh cool, that’s awesome!”

Gauraa: Wow. It’s like looking back at your old school yearbooks. Why did these spoken word interludes seem like a good idea? It’s like they discovered a new filter and were, like, Yeah! Let’s try this!
Reina: It’s like when we all thought it was cool to say “rawr” and “bitchin’.”  

Gauraa: Those were dark times.

Reina: Actually, there’s a lot of spoken word or like sing-talking on this album. It’s almost like a Britney album. Also, what the hell is the intro to this song? It’s like they couldn’t pick a key or something and the dissonance doesn’t really seem to work. It sounds like the orchestra tuning before a performance. Guess they were still “workin’ it out” and then just decided to put that on the album. Actually, maybe that’s what is happening here? It’s like ‘Workin’ It Out” in two-fold, with the spoken word interludes as portions from the process of creating the song or something? That would be a fun backstory.

Gauraa: Ugh I always knew, deep down, I’d live to regret not buying All Access Pass.

“Little Voice”

Profound Genius annotation:  N/A

Best lyric: “You smell so sweet just like my perfume/ What have you been doing since I left you?”

Gauraa: Indirect reference to the Lizzie McGuire alter-ego reference. I dig it. I mean, OK, they pretty much kept everything in line with their audience. We can give Hollywood Records credit there.

Reina: Is it just me, or is the whole feel of this song kind of… asylum-y? That came out weird, but what I mean is, do you think that the vibe of the song is supposed to reflect this insane person’s brain that is hearing a little voice in their head? Everything from the kind of nauseating synth sounds to her vocal inflections makes me imagine Hilary singing this looking dazed in a straitjacket in one of those padded rooms. In a Ashlee Simpson “Outta My Head (Ay Ya Ya) kind of a way. If that makes sense. Maybe I’m reading too much into the song, but somehow it’s a little bit eerie.

Gauraa: I see what you mean but I highly doubt that’s what they were going for there. I think this is supposed to be “a song to remind little girls to listen to the ‘little voice’ in their head before making bad decisions.”

Reina: That makes sense. I like thinking of it as a crazy person song. It’s more fun that way, I think.

Gauraa: Cue sample of bottles breaking from “Little Voice.”

“Where Did I Go Right?”

Profound Genius annotation: N/A

Best lyric: “I’m always driving/ Forget where I’m going/ Should have turned left, but I was singing some song”

Gauraa: Was Hil even old enough to drive when this song came out?

Reina: I remember seeing some sort of TV documentary or something where she was practicing driving with her permit, accompanied by her bodyguard or something. Also, around this time I’m pretty sure there was an episode of “Punk’d” where Hilary got punk’d during a driving lesson. I distinctly remember her saying “This is so illegal!” which is the kind of conscious goodness and aversion to risk-taking that sums up Hilary Duff in the early 2000s.

Gauraa: In some ways it feels like yesterday. In some ways, it feels so yesterday.

Reina: I do want to point out though that there’s this trend among female singers geared towards a younger audience where they are incredibly self-deprecating. They’re always saying, “I’m a mess! I’m a wreck! I’m a loser! Boys don’t ever look at me!” And I always think, what is the message they’re trying to send here? This song would be Hilary’s self-deprecating song.

Gauraa: True! Ashlee had “Better Off,” Lindsay had “Nobody ‘Til You.” This is her “the only thing I’ve done right is you” song. Is this not a trend anymore? When did it stop being a trend? With Carly Rae Jepsen’s “Boy Problems?”

Reina: I think it stopped being a trend when Taylor Swift discovered feminism. Goodbye “You Belong With Me,” hello “Blank Space”. But honestly, good riddance! We already hate ourselves enough already, we don’t have room for self-deprecating role models!

Gauraa: Yeah. Can’t wait for the next Lana record!

“Anywhere But Here”

 

Profound Genius annotation: N/A

Best lyric: “Now I can’t deny/ You’re the moth and I’m the flame/ There I go again, I should walk before I run/ How can I explain?/ I can’t stop what you’ve begun”

Gauraa: Ok, this is a cute song. It is. What I have noticed is that, unlike Lindsay or Ashlee, they weren’t at all trying to push for adult contemporary here. We don’t have that anymore. I feel like tweens today would prefer to listen to Purpose or Four or Made In The AM over a PG-rated record solely delivered to their target group. One Direction aren’t (weren’t? RIP) adult contemporary but they were definitely not as safeguarded as Hilary circa 2003.

Reina: I know I talk about intros a lot, because, I don’t know, they’re important to me. But, I love the intro to this song! The “ooh” at the beginning is so innocent and pure, it feels like it’s the heart and soul of this album in a single croon, if that makes any sense at all. You’re right, this song is cute and it’s so “tween,” like purely tween. And I think that’s actually incredible! They were able to make a song about just plainly, innocently liking someone. Without any blatantly sensual implications or innuendos. It’s kind of like a lost art, in a way.

Gauraa: I don’t know, Reina. I don’t think there’s a way to plainly like someone. But I’ll let that go for now.

“The Math”

Profound Genius annotation: N/A

Best lyric: “Is it a minus or a plus? / Does enough equal enough?/ If you can’t do the math, then nothing adds up/ Tell me why I’m here”

Gauraa: Reina, can you do the math?

Reina: I think I can, if it’s below college level. In this case, enough does equal enough to make me like this song the most of all the songs on this record.

Gauraa: I like this song because 1. It teaches you about numbers and 2. It teaches you about relationships. I get it, it adds up. Cool. Now do you think Hilary Duff was good at math?

Reina: You know, Gauraa… Who’s to say? As a sidenote, do you think Hilary Duff was homeschooled? I can only imagine that she was, especially throughout her career as Lizzie McGuire. But thinking about that also kind of makes me sad again because it kind of makes sense and fits in with everything we’ve been saying about Hilary being this one-dimensional momager puppet. Maybe she never had a friend to confide in/show her how to be a rebellious tweenager. Not saying that homeschooled kids don’t have friends, but I think given her circumstances, it might have been harder to find time to make friends her age, other than people she worked with, if that makes sense.

Gauraa: She was! She’s been homeschooled since she was on the sets of Casper Meets Wendy. (I was a full-time Hil obsessive, icymi.) And, yes, speaking from two years of experience, nobody can emerge from homeschooling unscatched. One last thing: you can hear the background singers on these songs a whole lot more than you can hear Hil. Isn’t it strange that they just let that jar?

Reina:  That is weird. Maybe she sounded bad so they had to cover it up? There I go, being mean again. But to balance my meanness with something nice, the intro of this song is so freaking edgy. I remember listening to it when I was younger, feeling really cool. I almost forgot that the intro was so edgy, and it took me by surprise when I put it on.

Gauraa: Very true.

“Love Just Is”

Profound Genius annotation: N/A

Best lyric: “It don’t make sense, what can you do?/ So I won’t try making sense of you”

Gauraa: Something about Hilary Duff saying “it don’t make sense” irks me. It’s so…it…don’t make sense?

Reina: It’s kind of like Taylor Swift saying “This sick beat.”

Gauraa: God. Why. These moony “oh-ho” background vocals are hilarious–I can just picture a gaggle of eight year olds swooning over their first crush in the back of the classroom, dotting their i’s with huge, lumpy hearts in the margins.

Reina: Love just is, Gauraa. Why can’t my parents just understand that??

Gauraa: </3

“Sweet Sixteen”

Profound Genius annotation: N/A

Best lyric: “There ain’t nothing in my way/ ‘Cept the traffic of L.A”

Gauraa: Sorry, I hardly ever pull this card, but, like, how fucking white is this song? And not just because of the “my blonde hair is everywhere” line but just the fact that turning sixteen merits a song? “I have got friends who love me/ Blue skies above me/ Mamma loves me and a sister who shows me, and a daddy’s always there/ Yeah-yeah, yeah-yeah.” Brag much, Hil? No-no, no-no. No.

Reina: I KNOW. I was just about to say. Also, this song was the intro for that MTV show, “My Super Sweet 16”, which was also a pretty white show.

Gauraa: Oh god. Yes. Yes, it was. And it makes me think of rich kids waking up to keys to an expensive car on their sixteenth birthday.

Reina: And also throwing tantrums when people they didn’t invite showed up or, god forbid, their dad didn’t buy them the car they wanted.

Gauraa: Oh man. Or: yelling at their hairdresser when they didn’t deliver on their promise to transform their locks into Scarlett Johansson’s. Or whoever was the go-to Scarlett Johansson in 2003. But I digress. What do you think of the line, “You’ll never get to heaven/ Or even to L.A./ If you don’t believe there’s a way”?

Reina: I don’t understand why all these young people are always trying to “find a way.” I understand how this line sounds good in the context of this song, but if you take it out of context, it just sounds fucking dumb. You can get to L.A. if you have money, darling. And also, I don’t think that getting to heaven is up to you, really. So yeah, dumb. Next.

“Party Up”

Profound Genius annotation: N/A

Best lyric: “I dream about it in my sleep/ You seem to like me better when I creep”

Gauraa: One of my favorite things about this column is actually going back and taking a second look at liner note personnel. Meredith Brooks, the woman behind the 90s #1 hit “Bitch” co-wrote this song. La la la la la lah and oh, and it bears striking resemblance to the Smash Mouth song “Walkin’ on the Sun.”

Reina: Ooh, so edgy. This song is so Ashlee, isn’t it?

Gauraa: Edgy indeed. And more spoken word! Watch out, sharp NC/17 turns ahead: “You roll me, you use me, you love me and then/ You wrap me up and reel me in and use me again/ You love me, you hate me, you say it’s the end/ I know you’re gonna do it again and again.” To this, I say: she was so shy, ‘til

Reina: Oh, the glory days of sing-talking. Sing-talking is such a Britney thing too. Hilary on this album is almost like an amalgamation of all the pop stars that preceded her debut. Not a bad thing, but like not original either, really.

“Metamorphosis”

Profound Genius annotation: N/A

Best lyric: “Every day is a new sensation/ Alteration, modification, an incarnation, celebration” OR “Every day is a revelation/ Information, anticipation, onto another destination”

Gauraa: “Things are different now/ When I walk by/ You start to sweat/ And you don’t know why.” This song is such a brutal, unsubtle, uncouth–if I may–ode to puberty. I mean, considering the context of this album, at least. “But something’s happening, things are changing…come on give me a kiss” It’s catchy and just as much “dirty” as this album could handle. Like, just “take a crazy chance” already. On with it. Play that funky music, white…boy? Girl?

Reina: More spoken word/sing-talking. This is like the Britney “Slave 4 U” of this album, but in a rated PG context. Also the chorus of this song is kind of “exotic” sounding, isn’t it? I think it’s the scale they’re using or something about half steps and minor keys that makes it sound vaguely… ethnic. That’s probably not the most PC way to put it, but I can imagine Hilary on stage with a snake on her shoulders, singing this song.

Gauraa: Definitely. Makes sense, too, because if I recall correctly, Hil was a massive Britney fan. And she did take on that direction with her 2007 album Dignity. (See: “Stranger.”)

“Inner Strength”

Profound Genius annotation: N/A

Best lyric: “Listen, girl, gotta know it’s true/ In the end, all you’ve got is you”

Gauraa: What a revelation!

Reina: With this song, it always struck me that the lyrics literally tell you rather than show you, if that makes any sense? “Gotta find your inner strength/If you can’t then just throw life away/Gotta learn to rely on you.” It sounds like a song someone would have written in the songwriting class that we both took. Simple rhyming scheme, kinda generic topic. I don’t know, am I too much of a hater?

Gauraa: No, I wholeheartedly agree. It sounds like she’s taken a lecture from her mother and put it to song. I don’t believe a single word of it. And I don’t think kids today would, either. Kids are so much smarter today. Teen-pop–pop music–as a whole, is smarter today.

Reina: Lyrics are definitely smarter! And I love that, but it also scares me that tweens are listening to songs with much more explicit content/connotations than they used to. It used to be risqué when a Disney star sang about kissing, but now they’re singing about touching and uh… other stuff.

Gauraa: But mom!

“Why Not”

Profound Genius annotation: N/A

Best lyric: “You always dress in yellow/When you want to dress in gold/ Instead of listening to your heart/ You do just what you’re told.”

Gauraa: Actually, I much prefer yellow as a color. Always found dressing in gold rather tacky. Sidebar: doesn’t Hil look like a young Meg Ryan in this music video?

Reina: I also feel like it’s much harder to find yellow clothing than gold clothing, isn’t it? It’s actually easier to dress in gold. This is also such a cliché teeny bopper pop star song. The “defying societal expectations” song. In a way, it’s kind of  like including this song on your album is taking a crazy chance, isn’t it?

Gauraa: “Instead of listening to your heart/ You do just what you’re told.” Not ironic at all coming from a sixteen year old teen idol on a Hollywood Records release.

Reina: Hahahahahaha. What a way to close the album.

Gauraa: Sorry Hil. I did love Dignity, though. Can’t wait for the new season of “Younger”!

Reina: But all of our disappointment and bitterness aside, WE’RE TALKING CARLY RAE’S B-SIDES NEXT WEEK!! If you have not yet listened to them, I don’t know what the fuck you are doing, honestly. If anyone is the voice of our generation, it’s Carly Rae Jepsen. Sorry Hil and Lena.

Gauraa: All I have to add to that is: !!!!!!!

__

Reina and Gauraa did not expect for it to be such an emotional Friday night. They’re a little depleted from, er, coming clean and insist they need to be alone now . You can find them here next Friday, getting excessively sentimental over the B-sides to Carly Rae Jepson’s  E•MO•TION.

 

August 26, 2016

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