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, Katy Perry’s 2008 release One of the Boys.
Gauraa: Hermetic curmudgeon that I am, my plan for the night was to slowly make my way through Melissa Febos’ collection of autobiographical essays Abandon Me. Only pausing for cool sips of strawberry wine, and, as always, silently wishing for Katy Perry’s approval. What plans did you “cancel” tonight?
Reina: Lame homebody that I am, my plan for the night was to force my mom to watch The Walking Dead with me until we both pass out on the couch. Such a party animal, aren’t I? So all mommy and me time aside, tell me Gauraa, why this album?
Gauraa: I was younger. Inconceivably younger, in fact, I remember because I was still smoking menthol cone-crushers. I had two left in my crumpled pack, its silver wrapper wrinkling around the corners. I thought about saving them, but eventually took them out, one by one, and smoked them both. I wandered up and down the streets of Alphabet City with aimless purpose, seeking shelter in coffee shops when I felt like people had started to take notice I wasn’t going anywhere. I refused to climb back up the stairs of my empty Airbnb apartment, to look into the dangerously sincere eyes of a stranger’s dog. To acknowledge that he wasn’t there, to envelop myself in his absence. I thought about calling my friends, but decided against it—this wasn’t a night for party favors, this wasn’t a night to drink. I did not want to cry. I pressed play on One of the Boys, hoping the songs I’d rehearsed countless times in the private acoustics of my bathroom would mitigate the pain, relieve me from my endless stream of self-pity. I was going to listen to these songs that once made me mindlessly happy, as many times as necessary, until it was time for tomorrow. But my stomach knotted up as soon as “If You Can Afford Me” smudged into “Lost.” I heard an audibly young voice, not too different from mine, and choked. My insides screamed as Katy lamented another night waiting for someone to take her home. I was made to feel—not old—but not young, either. I felt frayed.
To consider One of the Boys a collection of, I don’t know, “bangers” from the summer of 2008, full of pabulum, obscured by Billboard relevance, is, perhaps, a little contrived. It has all the elements, yes—candy coated recollections of provocative bar nights, misinformed, misled conceptions of gender identity from before gender was fluid—sure, fine. But looking past chronological snobbery with a little generosity, it reminds you what it was like to feel renewed by a new a city, to be fueled by youthful jubilance, ambition. To look high, to feel lost. To feel like the pick of the peck, to feel worthless. To make minimum wage, to not be able to afford half of what is advertised. To feel the best is already behind you. To scream for attention, to feel invisible. To want to be remembered.
How do you feel about One of the Boys, Reina?
Reina: I remember seeing Katy Perry the first time I went to the Warped Tour the summer before I started high school. I was so uncool, with braces and my bangs pinned back, wearing socks that were just a little too long for my low cut sneakers. She looked effortlessly cool, wearing sunglasses and a halter top romper, standing out like a sore thumb in the middle of all of the pop punk people waiting to see some hardcore band I’d never heard of. She had tote bags that read, “Us girls we are so magical. Soft skin, red lips, so kissable.” And for the first time in my life, I think I believed that maybe I could be a magical girl too. I didn’t think much about the encounter past that, until I got my braces off and started wearing makeup to school. It was then that I remembered that line and how cool she looked. One day, I illegally downloaded her album from limewire because desperate times called for desperate measures, and I listened to each song meticulously to try and understand how I could become so effortlessly cool like Katy. As much as I criticize “One of The Boys,” I identified so strongly with that song, it was almost scary. I had crushes on all my brother’s friends who treated me like a little sister, and all my friends seemed to have romantic flings, while I sat and watched from the sidelines. I’m still waiting on the day that one of my crushes from high school wants to make out with me, but at the time, this song reassured me that even cool Katy struggled with this too. “Mannequin” helped me convince myself the boys I liked that were too scared to like me back, and “If You Can Afford Me” convinced me not to settle for anything less than the best. All of her songs taught me something about myself and how I wanted to treat myself and let other people treat me, and I think that’s important. I know it’s funny to say a pop album taught me about myself, but truly, this one did. I don’t know if it’s because I was young and at an impressionable age, but it’s an album I’m glad I encountered in my formative years.
Gauraa: Honestly, sometimes I think that’s the sole purpose of pop music: to teach us about ourselves.
“One Of The Boys”
Profound Genius annotation: Most girls would scream at the sight of a spider. Katy is so tough she isn’t scared!
Best lyric: “I saw a spider, I didn’t scream/ Cause I can belch the alphabet/ Just double dog dare me”
Gauraa: Ah, to be “one of the boys.” The ultimate bruise to a school girl’s ego. But before we delve into the gender norms instituted by this song, we should probably take into account that it was 2008. We were, as a collective, dumb. Having that out of the way, Katy Perry, sensual as she is, singing this song is almost like pulling an act out of a playbook: from nerd to sex goddess, overnight. It’s dotted with references, too. Both Lolita and Seventeen. An exercise in wish-fulfillment, indeed, but how diverse!
Reina: I was able to belch the alphabet when I was younger too. And you know, I could probably still do it on a particularly bad acid reflux/heartburn day. But all belching aside, I know this album was supposed to be the uh, “introduction” to cool girl Katy, a real guy’s gal, who just wants to be treated like the beauty queen teen dream that she aspires to be. And I know it’s “lame” to critically analyze a sugary pop confection through a feminist lens, but like, what the actual fuck, Katy? She makes so many generalizations and conforms to so many gender norms in this song, I almost want to call the Guinness Book of World Records. Dear Katy, why do you insist that there’s a right way to be a girl and that shaving your legs and reading beauty magazines is the only way you can get a boy to take an interest in you?
Gauraa: No, I’m totally with you. Listening to this song at the ripe, impressionable age of thirteen made me feel like there was only one kind of pretty and it involved wearing pearls and being, as dear Nabakov puts it, “Dolly at school.” It felt vast and it felt unreachable and the only other option, it seemed, was to settle into the pre-conceived identity of being the formidable, asexual friend. Thankfully, that ideal has become a little stale now. The song, however, is still unbearably catchy. In fact, Katy’s songs–the melody lines, the production–come alive like hyperreal gouche photography on this record. Reina, in all sincerity, do you still remember the words to this?
Reina: To be completely honest, I can probably sing this song perfectly in my sleep because I know the words so well. And content/portrayal of women as fragile beings aside, the music is amazing. It’s just the right amount of retro synths and girl power edgy guitar, and the melody is so catchy. It’s the kind of song you instantly want to listen to again when it’s over.
Gauraa: And I can probably belch the alphabet. Just double dog dare me.
“I Kissed A Girl”
Profound Genius annotation: “I Kissed a Girl” is a song in which Katy details a night in which she got so drunk that she ended up making out with one of her female friends. It was her breakthrough song, launching her successful career. Although initially denying that she had ever kissed a girl, Katy revealed that the song was in fact autobiographical and she only initially denounced the rumours because of what she called “sleazy” journalists.
Best lyric: “You’re my experimental game/ Just human nature”
Gauraa: God, this was the one that shot her up to fame, wasn’t it? I remember listening to it in the absence of parents, mainly because it was made to be a very sensationalist affair. I mean, at thirteen, that’s all it was: catchy, sort of illicit, which, at the time, made her seem all the more provocative. But coming back to “I kissed a girl just to try it/ I hope my boyfriend don’t mind it,” morality is so outre, I’m not sure what to think? This song was just obscenely orchestrated to be an attention-grab.
Reina: Love that she had to “reveal” that it was autobiographical and she initially denied it because of “sleazy journalists.” I just laughed so hard reading that. #hetero. I take it that Katy wanted to be “edgy” because pseudo-lesbianism is #sexy, but it strikes me as problematic and kind of damaging to have a song getting tons of airplay and climbing the charts be about “just wanting to try on” same-sex sensuality. And yeah, some people went overboard in their criticism of Ms. Perry, but we live in an age now where pop stars have songs like “I Kissed A Girl” and “Ur So Gay,” but still preach about how everyone is a unique and important firework that should let their colors burst.
Gauraa: You’re definitely right. But I do think it was a different age and she was, what, 24? I suppose it’s also worth considering that Katy pursued a career as a gospel singer in her teens. For her, this was probably a big “coming out of the cage” moment. And the big guys at Capitol were all for it because it would sell. Look, she even looks a little unsure and uncomfortable in the music video. Not excusing or apologizing–I’m not the biggest fan of the song myself–but I feel as though we, as a people, didn’t know any better, and honestly, we’re a product of our culture and a lot of our culture is informed by yesterday’s culture. That’s not to say it’s “right” but it’s to say we should probably cut 2008 a little slack. There’s no doubt a song like this wouldn’t be released today.
Reina: I think I agree, though I hate to admit that we were ever ignorant. But then again, who likes to admit they didn’t know better? I think that part of this was also to position her as the “cool girl” pop star. Like a cool older sister or something, you know? She kisses girls and likes it and wears high waisted shorts and halter bodices and heart sunglasses. I remember seeing her perform on Warped Tour and I feel like they wanted to sell her as a pop star that even the kids at the Warped Tour would think is cool. Like how Taylor is “adorkable,” Katy is like her crude, unfiltered, and hip older sister.
Gauraa: Hey, I think that’s a stellar idea for a TV show idea: Katy and Taylor playing out their respective “adorkable” and “crude, unfiltered and hip” personas. Possibly discussing John Mayor. I digress but, well, Katy was kind of like a happier, more colorful pre-Lana Lana, wasn’t she? Minus the neo-noir elements, of course. Side note: isn’t it funny how the biggest hits on this album are the first to fade away? “I Kissed A Girl,” is probably my least favorite. “Hot n Cold” is up there, too. Maybe it’s because I’ve heard that one so many times that I’m tired of it. But I think it’s because the rest of the songs are much better.
Reina: Agree 1000% with “I Kissed A Girl” being the least favorite. God, the more I listen to this song, the less I like it. But “Hot n Cold” is an incredible song, and I’ll defend it more later.
“Waking Up In Vegas”
Profound Genius annotation: The catchy quote that kicks off the chorus of this song is actually Katy quoting what her boyfriend had told her the night before, when they originally ventured to Vegas. The two tell each other that instead of talking/whining/worrying, they should shut up and gamble (or just do something fun in general) so that they can enjoy themselves instead of preoccupying their minds.
Best lyric: “Shut up, and put your money where your mouth is/ That’s what you get for waking up in Vegas”
Gauraa: If I had a penny for every time I sang this at karaoke, I could probably, I don’t know, afford a trip to Vegas? From India? Which is to say I sing this at karaoke a lot. But also to say we should plan a trip to Vegas soon.
Reina: Stop it. Don’t talk to me about karaoke because it makes me miss you. I just want us to be drunkenly belting this at a shitty karaoke bar with you :’)
But in all seriousness, this song is so amazing. I don’t know what it is about those melodies that are articulated like one word per note (like the chorus, if that makes sense), but I love ‘em so much. It’s also such a perfect image of all the reasons why I would probably hate to go to Vegas as an adult. God, I adore the music video for this song. It was like the first indication that Katy Perry knew how to be funny, you know?
Gauraa: The music video for this song is a perfect reiteration of the glitter-smearing brand of beautifully tacky that is Katy Perry.
“Thinking Of You”
Profound Genius annotation: “Thinking of You” is a song in which Katy describes thinking of a former lover, who she considers to be the best, when she is with her current one. She isn’t happy with her current boyfriend, and yearns for her old love.
Best lyric: “You said move on, where do I go?”
Gauraa: With Katy, it’s never the banal imagery delivered by the lyrics, it’s they way they’re delivered. She compares an ex-lover, in the midst of sexual encounter with another man, to “a hard candy with a surprise center.” But in doing so, she somehow manages to desexualize all intentions. She conceivably, audibly, struggles through the night with someone new. That, I think, is, pretty laudable. Poignant bed-side grieving, fit for measure in the confines of a pop song.
Reina: Ugh that line! “He kissed my lips, I taste your mouth/He pulled me in, I was disgusted with myself.” That kills me every time. I actually love the beginning of this song. Her voice comes out in a kind of whisper and the moment feels kind of fragile, if you know what I mean? I’ve always thought of Katy as a belter, because she’s good at that, but it sounds nice when she’s trying to be delicate too.
Gauraa: Wholeheartedly concur, I love when Katy whispers. But let’s talk about the music video for a second–it’s pretty tactical to kill the ex-lover who asked her to “move on” in a war, isn’t it? Like, sure, that works, but having a picture of him with a cross dangling in front of it changes the interpretation and reception of the song, no? I don’t have a problem with what she’s singing, I love the song, but I feel like it’s just such a sly way to alter morality. Especially in relation to thinking of an ex while having sex with someone new.
Profound Genius annotation: Katy cannot receive love from this boy or give love to this boy due to the hyperbole that he is a mannequin. Mannequins portray humans yet they cannot feel, love, talk, or express any active feelings or motions. This is how she feels with this man: he cannot feel her love because it is not going through. She says that he’s “not a man” because a man would have some sort of reaction to her love yet this man has no reaction and basically ignores Katy regardless of how much she really wants him.
Best lyric: “But you’re not a man/ You’re just a mannequin”
Gauraa: Ha! Man, mannequin? See? Reina, see? It’s a play on words!
Reina: (Insert eye rolling gif here.) But in the spirit of cleverness, this line, “I keep knocking on wood/Hoping there’s a real boy inside,” is the best.
Gauraa: I love that line, too. And I love singing this one in the shower, especially that “I’m such a fool/ I’m such a fool/ I’m such a fool” fragment before the second chorus. It’s perfectly executed, vocally, and the way she switches from her falsetto to belt is gorgeously seamless. It’s kind of what we talked about a few Friday Night Dinners ago, whilst discussing Carly Rae Jepsen’s “Roses.” It’s not easy but beautiful when done right.
Reina: Even in this song, Katy is telling people how to best fit into their gender norms. See: “I could bring you to life if you let me inside, baby/It’ll hurt, but in the end you’ll be a man,” implying that to be a real man, you’ve got to connect emotionally with her and let her in and understand her love. Imagine this guy actually just isn’t that fond of her?
Gauraa: Imagine he really is just a mannequin? Anyhow, to console you, I have for you this CRJ gem. It makes up for the beautiful disaster that was 2008.
“Ur So Gay”
Profound Genius annotation: “Ur So Gay” is a song about a boy who fits all the gay stereotypes, despite not actually being gay himself. Katy wishes the boy would be honest with her about himself.
Best lyric: “I hope you hang yourself with your H&M scarf/ While jacking off listening to Mozart”
Reina: This song. *sigh*. I wonder who it was that green lighted this song without a second thought. Again, this strikes me as an attempt at edginess gone wrong. Because what’s more edgy than pigeonholing someone based on a bunch of shallow stereotypes. The more I listen to this song, the less I understand what part of this seemed like a good idea.
Gauraa: 2008 greenlighted this song. Like, Reina, I’m telling you, this song is so 2008 that I remember my classmates having this as their automated MySpace profile song. Still, that doesn’t make it any better, or any more excusable. Here is an on-the-mark write-up by Andrew Miller, who points out how problematic this song is, rightfully declaring “Ur So Gay” a “casual all-purpose putdown.” Katy claims intended for this to, um, “take the piss out of the emo scene,” (see: “Peirre Wertz,” which is obviously supposed to be a dig at Pete Wentz). Think of it this way, if this song were to come out today, it’d probably be titled “Ur So Indie Rock.” Speaking of, do you think Katy was like the emblem for the Urban Outfitters brand of hipster bohemia before it was, like, a Thing?
Reina: Ok, I get what you’re saying, but I just find it shocking that no one thought twice about how iffy this song is? It’s not like LGBT Rights weren’t around in 2008. But then again, maybe that’s why this single didn’t do great? I never heard it on the radio or saw the video on MTV/VH1, any of those kinds of outlets. Also, I wouldn’t say “bohemia,” but she was ironically vintage before it was a Thing, with her Lolita sunglasses and her high waisted, halter-top, modern pin up girl outfits. She was also one of the first popstars to, I don’t know, give off this air that she didn’t take herself too seriously? Like the way Taylor Swift is self-deprecating in an endearing way now, that was 2008 Katy before she was a cultural appropriation aficionado.
Gauraa: Right. I’m just starting to see SO MANY branding similarities between Katy and Lana. It’s all pastiche artistry, really, I believe.
“Hot N Cold”
Profound Genius annotation: We come to realize that Katy is stuck in her relationship, and doesn’t with to leave it (yet). Katy could also be alluding to the fact that roller coasters go “up and down”, which certainly relates to her fluctuating relationship.
Best lyric: “Someone call the doctor/ Got a case of a love bipolar”
Reina: “You change your mind/Like a girl changes clothes/Yeah you, PMS/Like a bitch/I would know.” I guess it doesn’t matter which marginalized group you identify with, because you can still count on Katy Perry to stereotype you. In all seriousness though, do you think this to keep with her theme of being “one of the boys”? She’s trying to talk like a boy, maybe. That would explain “Ur So Gay”.
Gauraa: A girl telling a boy she is dating that he “PMS[es] like a bitch,” and meaning that as an insult, is prime example of internalized misogyny. But this was a MASSIVE hit, so I think it’s safe to assume that people did find it edgy? And not at all offensive? Once again, this looks like a case of collective idiocy/ misdirected edginess in 2008. I would have second thoughts about the “PMSing like a bitch” line today, but it was a different time. Saying “bitch” with such nonchalance–saying bitch as a schoolgirl without flinching, even–seemed cool. Time recontextualizes so many things.
Reina: Once again, positioning her as the “cool girl.” I feel like they almost wanted to make her like Rizzo from Grease, or the leather pants Sandy that Sandra D becomes at the end of the movie. It’s like “bitch” is the 2008 version of “tell me about it, stud.”
Gauraa: 100% concur. I don’t remember if you’ve seen Part of Me, her 2012 “popumentary,” but, um, my college roommate, as you know, loved this film and made me sit down and watch it with her one Sunday night. If I remember correctly, the guys at her label had problems fitting her into a “mold,” if you will. They weren’t sure if they wanted her to be a Kelly Clarkson or, like, a country singer or some variation of that. Long story short, there was a lot of “positioning” involved and I believe her look and persona were very deliberate.
Reina: Faux pas aside, this song is still so incredibly catchy. The lyrics are “meh” but it’s so sing-along-able and the beat is so infectious, I can’t help but bop my head along and want to dance every time it comes on. That sounded like such a cliche way to describe a song, but Jesus, this song is such a jump-around-and-sing kind of song. Maybe it’s my affinity for 80’s radio or this kind of drum beat, but I can’t help it.
Gauraa: Definitely a great beat, but, like I said earlier, I think several repeated listenings over the year have dulled the song for me.
“If You Can Afford Me”
Profound Genius annotation: “If You Can Afford Me” is a song in which Katy tells a prospective lover that she is worth more than he thinks she is and not just someone he can throw away when he feels like it.
Best lyric: “Cause I can be bought, but you’ll pay the cost/ If you can afford me”
Gauraa: Cute! This song is cute! I remember being wowed by the audacity of the song when I first heard it at thirteen. With pastry shops of favorable idioms as verses (“If you want me/ The pick of the peck/ The crème de la crop”), it had a similar effect to, I guess, reading Sophie Kinsella in the sea-salt bath with a brazened honey mask on. Or, like, drinking Strawberry daiquiris with a gal pal on a night out, whatever the grown-up equivalent of reading Sophie Kinsella is supposed to be.
Reina: Remember we would get drunk and sing this song? I feel like that happened every time a boy was being lame to us. We would always drink too much and reassure each other that we’re worth too much for a boy to be cheap. This song is still cute, and all my memories associated with it are so, so cute. I remember being so shocked that anyone had actually listened this far into Katy’s debut album! I almost want to credit this song as being one of the ones that helped us become friends. “I don’t put out for charity.” Damn, tell’em Katy!
Gauraa: I’m glad that we were equally embarrassing, drinking peach Four Lokos and doling out advice from Katy Perry songs to each other. And I’m glad Katy salvaged our teenaged self-esteems, but gladder yet we won’t ever have to be seventeen again.
Profound Genius annotation: “Lost” is a song inspired by Katy’s move to Los Angeles, and her feelings of being lost in life before she signed her record deal.
Best lyric: “Feeling so high, but looking so low/ Party favors on the floor/ Group of girls banging on the door/ So many new fair-weather friends, ooh”
Gauraa: This song wrecked me up good one night in 2013 and it has continued to wreck me ever since. I’d advise anyone feeling weak or vacant not to listen to this because it might push you over to the edge, like it did me. I swear I could hear Katy teetering dangerously, on the brink of a breakdown. Some nights I still can. To feel so lost that it becomes all too-familiar, it aches. I hadn’t realized that “Lost” was inspired by moving to L.A. until now, but it adds up perfectly (“So sick of this town pulling me down”). It’s the worst when you carry your expectations to a new city, thinking that a move will fix everything, only to realize that you “can’t find the way cause the way is gone.”
Reina: “So many new fair-weather friends” God no. This song kills me. “Have you ever been so lost?” Katy, you know I’m always lost. I don’t know why but the intro of this song always kind of creeped me out. Maybe it’s because it sounds like this jewelry box that I used to have when I was little, that had this creepy ballerina in it. I also want to point out that the end of this song where she’s vocalizing over the music box sounding melody sounds like a song that would play in The Sims or some kind of game. But the whole feel of this song is very… drifting? Like it’s wandering around a little lost too.
Gauraa: It has that splattery, twinkly Xylo/Glockenspiel effect of a Sims BuyMode theme, yes, but that, in all probability, might be the power of association. For me, the mention of a jewelry/music box immediately triggers the image of a necklace inscribed with the words “Together in Paris” and an impulsive need to watch Anastasia again.
Profound Genius annotation: “Self Inflicted” is a song about a lover who Katy knows is dangerous and only going to result in heartbreak, but she pursues him anyway.
Best lyric: “Young love’s like jumping out an airplane riding a tidal wave on an ocean of emotion”
Gauraa: Side B of this album trumps Side A, any day. I just feel like nothing dulls or ages a song faster than attention-grabbing phraseology. “Self-Inflicted” is a great song, and, in my opinion, one of the best-written songs on One of the Boys. Not saying that I dislike the first half of the album, but the latter half just seems more relaxed, more, well, sincere?
Reina: I love the melody of the chorus. Especially the progression of “I can’t stop, don’t care if I lose./Baby, you are the weapon I choose.” But I concur, The songs towards the end of the album are more interesting than the gender normative pop death traps at the beginning. There’s almost nothing to say about it because it’s just… good, and we don’t really need to explain why.
“I’m Still Breathing”
Profound Genius annotation: “I’m Still Breathing” is about a love affair that has ended, leaving Katy heartbroken.
Best lyric: Pick your favorite shade of black/ You’d best prepare a speech/ Say something funny/ Say something sweet / But don’t say that you loved me”
Gauraa: She leaves the gas on, walks the alleys in the darks. Sleeps with candles burning, leaves the door unlocked. Weaves a rope, runs all the read lights. And it makes me think: relationships live through so many little deaths before they die. A quote from Durga Chew-Bose in Tavi Gevinson’s Infinity Diaries: “Relationships are horrible because you survive them.” It’s true, isn’t it? Every little detail about this song–its wispy delivery, the wailing chorus, the double vocals, separated by an octave–seems transfixed by some horrific pain.
Reina: This is the song I needed when I couldn’t break up with my ex. “Because I’m still breathing, but we’ve been dead for a while.” There’s nothing more tragic than a relationship that’s lost its spark.
Gauraa: It’s terrible what “love” what makes us do to one another. Love, which, often, evolves into a most extravagant display of contempt.
Profound Genius annotation: “Fingerprints” is a song in which Katy sings that she is determined to make her mark upon the world and be remembered.
Best lyric: “Voted most likely to end up on the back of a milk box drink/ Looks like I’m letting them down”
Gauraa: They raised the minimum wage by a quarter since this song was written but it still made my Starving Artist Blues playlist in 2014. This was one of my initial favorites on the album and I still find its eager sense of restlessness, the feeling of having peaked in high school, the driving need to go out, to do something, to be someone, so palpable.
Reina: Doesn’t this song seem like something Paramore would have put out? Especially the chorus. I can imagine Hayley singing this so vividly. I was re-watching Adele’s “Carpool Karaoke” the other day and she talks about how the Spice Girls “got out” and how she wanted to “get out” too. And I feel like even if you don’t really know for sure what it means to “get out” we all want to “get out,” you know?
Gauraa: We all want to “get out,” but no one, save Adele and the Spice Girls, apparently, seems to know where to go. That said, yes, I can absolutely hear this as a Paramore song, especially circa Riot! or possibly even on Brand New Eyes, sandwiched between “Looking Up” and “Where The Lines Overlap.” You’re always so good with these things.
Reina and Gauraa did not expect for it to be such an emotional Friday night. They insist they need to be alone now. You can find them here at nine in the afternoon next Friday, discussing All Time Low’s Nothing Personal.