Listen, listen, listen… I know it has been a while, but here I am with so so so many good things to talk about. So many good songs have been bestowed upon us all and here I am to tell you just how I feel about it. Consider this my journal, where nothing I say can be wrong.
You cannot even be mad at me because I am coming to you with great news, for me personally. That is, that I had myself a hot date with none other than the perfect cosmic angel Faye Webster. What a show that woman can put on. Her opener was nothing short of amazing, Kate Bollinger has most definitely gained a fan or two since Monday evening. Faye’s stage presence in very chill, which is expected from her overall look and music genre and sound, but she does make sure that the crowd is having fun. Towards the end of her hour and a half set she not only covered an Animal Crossing song, which happened to inspire her most recent (amazing) album I Know I’m Funny, haha, but also brought up a very skilled yoyo-er (if that is how you say it), to do some crazy tricks while she stood off to the side dancing and laughing. I say this for just about everyone I see live, but her voice and stage presence make her sound ten times better. If you had the chance to go to the show, I hope you had as good a time as I did, especially if you got into the bar. If you have not heard of Faye Webster, I am here to guide you to her, this is my job. Faye is an indie-folk singer from Atlanta, Georgia who has incredibly relatable and sad lyrics that win me over with a very soft and unique voice.
Now that I have bragged about one of the best shows I have seen recently (which there have been several and none have come close to Miss Faye), let me get into the juice, what I have been waiting to talk about since February 9th.
As we all know, (maybe you don’t, or maybe you aren’t the TV watching type, or you skip for personal reasons) Euphoria’s second season came out. I know exactly what you’re thinking “Abbegayle, this is a music blog, why are you mentioning a TV show?” And to that I will say, I know. If there is one thing I like, it is a good soundtrack to a show or movie. I think we can all agree (those of us who have seen the show) that Labyrinth absolutely killed the first season's soundtrack. Hit an absolute homerun. However this season, so far, has had an outstanding soundtrack outside of what Labrinth wrote for this season, which is also amazing, don’t get me wrong. I know, from looking through twitter, that I am not the only one who has added nearly every song from every episode I have watched thus far. I think we can all agree that the first episode alone set the stage for the entire show, and that is what I love about soundtracks. The first episode started with "Don’t Be Cruel" by Billy Swan to a grandma walking into a strip club and absolutely f****** s*** up, which was the most amazing opening scene I have seen in a long time. The first episode also included "Hit ‘Em Up" by Tupac, "Right Down the Line" by Gerry Rafferty, "Dirty Work" by Steely Dan, and "Dead of Night" by Orville Peck (which the crowd went wild for). The second episode came with some notable mentions as well which include "Haunted"by Laura Les and "She Brings the Rain"by CAN. There are two more episodes left in the season, which is insane. We have almost made it through the roller coaster ride that is an entire season of Euphoria in real-time (instead of binging it like we all wished we could). I will be back soon to talk about more concerts and more albums, Mitski’s specifically wink wink. Until then, my fellow dawgs, I miss you, I love you, good luck on midterms, listen to good music, and watch Euphoria.
Today, I hang my head low with my tail between my legs. Today, I am embarrassed. Today, I am coming clean to all of you. I am guessing you all know, even you apple music users, that today Spotify wrapped came out. Perhaps the best day of the year, one that millions of us forget about for most of the year and wake up to the most pleasant surprise when a large database aesthetically tells you how they have tracked your every move on their platform. It truly is a harmonious day for all, but today it has absolutely destroyed me, annihilated me if you will.
Usually you have a rough idea of what might be on your top five list of listens throughout the year, and sometimes your favorite artist that you thought you’ve spent all year listening to comes in number three on your list, stuff like that, small surprises. But today, for me, I have been humiliated and absolutely called out by Spotify, and the worst part of it all is that it is quite literally all my fault. I have no one else to blame, no one has taken my phone and maliciously played Kanye West, this super underground hip-hop artist you’ve probably never heard of before, on my Spotify all year, that was me, and today I am coming forward and revealing to you, all of my shortcomings.
Before you even start to formulate your own opinion and assumptions on why he was my fourth listened to artist of the year, I must give you some insight on who I am as a person. Here is the thing, I am a creature of comfort and habit, and by that I mean once I find something that I like, whether it be food, a show, an outfit, or song(s) I will eat that shit up until I make myself crazy in my own indulgence. So, you must know that “Flashing Lights” rang in my head and I was quite literally addicted to it all year long. I have no idea why, I just know that it is so damn good and still I cannot get enough. As for the rest of my Spotify wrapped, we don’t really need to get into it, but because you are asking so nicely, I guess I’ll tell you. Here’s how it went from top to bottom, Frank Ocean (I was in the top 0.5% of his listeners this year, because I am a cool girl), Tyler, The Creator, Brent Faiyaz, Kanye West, and SZA.
I know what you’re thinking “this girl must really like hip-hop and R&B” and in that thought you would be correct, but what you would not be taking into account and what my Spotify does not show is how much I love alternative and folk music and that I actually listen to music that is not mainstream and has an occasional acoustic guitar, you get me? But here I am, addicted to mainstream hip-hop and I am only a little bit ashamed. I will work through it, I will get better, and next year Faye Webster will reenter my top five listened to artists, I am manifesting it.
That is all the embarrassment and self sabotage I can handle today dawgs, peace out!
RDR Essentials is a weekly newsletter of alternating genres that outlines key releases of the past month, upcoming events around Seattle and happenings in the specified music genre.
Made in collaboration between Rainy Dawg DJs and the Music Director.
After an excruciatingly long wait, R&B’s newest dynamic duo, Silk Sonic, has finally come through with their debut album. Megastar Bruno Mars and the multi-talented Anderson .Paak are Silk Sonic, and the aptly titled An Evening With Silk Sonic is a smooth, beautiful, sensual and sexy throwback to the sounds of yesteryear. The project as a whole is very much an ode to the sounds of 70s and 80s R&B, funk, blues, and more, all “hosted” by funk legend Bootsy Collins. Anticipation for the full project has been high since March of this year with the release of the lead single, the invitingly intimate “Leave The Door Open”, and the album itself delivers more of what that first track promised. That sensual energy is carried over onto songs like “After Last Night” which features Bootsy Collins for some vocals and Thundercat with his signature bass skills, making for a beautiful and immediately catchy piece which sees one of the most infectious hooks you’re likely to hear this year. The retro sounds ooze out of this track, and the vibe it creates is immaculate; indeed this song comes at the album’s midpoint, and in a way acts as the album’s high point. The following track “Smokin Out The Window” is a tongue-in-cheek ballad seeing Bruno and .Paak singing about their girl belonging to “the city” or to “everybody” rather than just themselves. The song’s hilarious music video makes clear the self-aware nature and playfulness of these lyrics however; Anderson .Paak’s defeated position laying face down motionless on stage has spawned its fair share of memes but makes clear the track’s irony (it’s not a Future song after all).
The punchy and upbeat “777” should be nothing short of an ego boost for the listener that brings the tempo (and the mood) way up, carried over into the dreamy and otherworldly “Skate”, finally bringing the listener to a gorgeous serenade from our duo on the album’s closer “Blast Off”, which sees us finishing the journey and coming down from whatever nostalgic “magical place” we’ve accompanied these two into as .Paak slyly recalls: “I took a little somethin’ to get here”. Nothing on this album reinvents the wheel, and is in many ways heavily reliant on the sounds and nostalgia of the past, a point which some have levied against the project amidst the heaps of praise it has earned. In part, these are valid points; but I challenge anyone to find an example of anything in this musical lane so perfectly executed, so engaging to listen to and so easy on the ears. Bruno Mars and Anderson .Paak have elevated each other on this album, and we can only hope that Silk Sonic chooses to bless our ears once again in the future.
Whether it’s through his rich, yet silky smooth production or his impeccable choice of featured artists, KAYTRANADA widens the scope of everything he touches. His previous works, 99.9% and Bubba, felt incredibly dense - a difficult quality for a single producer’s work to have. Every track was an experience. Sounds were woven together masterfully; the whole was greater than the sum of the parts. This eclecticism and attention to detail is what makes Intimidated, a three song EP, feel like a 20 song album.
Let’s start with “Intimidated,” the album’s opener. It’s either my abandonment of a sleep schedule or H.E.R.’s angelic and atmospheric vocals, but I’m about to shed a few tears to this one. It’s probably the ladder. H.E.R.’s serene alto simply glides over airy, yet vibrant synths and a relatively simple piano loop from KAYTRANANDA. She sings of an intense desire to, in real time, truly love a moment in your life. In her case, she’s sharing it with a lover and she doesn’t “wanna waste the feel.” The lyrics feel honest and empathetic, even when the drums begin to dominate the song and H.E.R.’s voice is left echoing amidst kicks and snares.
A bouncy, surrounding bass introduces “Be Careful.” Without glancing at the title, these first chords allude to the feature: the bass-God (not to be confused with Lil B Based God) himself, Thundercat. And right when I had that realization, I heard his voice. A polished tenor who’s flow is either a bold stylistic choice or an intentional mockery of 90s to early-2000s R&B superstars, Thundercat provides the lyrical club color commentary for this nightlife anthem. Over crackling snares, a funky bass and a kick and hi-hat combination made for movement, Thundercat sings lines like “You look so good I think I’m gonna pass out,” “I like your hair,” or “It’s 10 o’clock.” This track isn’t trying to be something it’s not. It’s simple and straightforward, built for dancing and honest about it. The inclusion of Thundercat, who is comically self-referential about the song’s intention, is the icing on the cake.
KAYTRANADA saved the best for last and he truly spoiled us. “$payforhaiti,” a reference to the featured rapper Mach-Hommy’s latest project Pray for Haiti, is brilliant mix of hip-hop and dance-based production laced with impeccable flow and wordplay, done in both Haitian Creole and English. And when I say laced, I mean LACED. Hommy’s flow, especially the verse rapped in Creole, feels less like it was spoken and more like KAYTRANADA wove it in during production. I’ve been a fan of Hommy for a bit now, but his ability to fully embed himself within a beat is remarkably different and impressive. But credit for this achievement lies just as much with KAYTRANADA as it does Hommy. A spread out and diversified kick, snare and hi-hat pattern resemble the sample-heavy beats Hommy is used to, possibly producing his aura of comfortability on the track. However, a lively 808 mixed with silky piano notes and spacey synths fill in any errors Hommy, or the human voice in general, could make. This song is a perfect blend of multiple genres and styles and proves KAYTRANADA can work with whatever the universe gives him.
New York rapper Your Old Droog has cemented himself as one of the kings of the underground in the last few years, with a growing catalog of solid projects and a run of fantastic efforts with high-profile features. 2021’s Time proved to be one of YOD’s most interesting projects yet, featuring cuts like the MF DOOM collab “Dropout Boogie” and the intimate “Please Listen To My Jew Tape”. Droog’s run over the past two or so years has also been marked by his regular collaborations with the prolific Tha God Fahim (including Tha YOD Fahim and Tha Wolf on Wall Street), himself known for his consistent stream of releases as well as association with other working underground legends like Mach-Hommy. Droog, however, claimed in a tweet commemorating Space Bar’s release that the project was his best album, and it’s not too far off the mark. While perhaps shorter and not as expansive and grimy as prior YOD projects like Transportation or It Wasn’t Even Close, Space Bar is all the better for it, full of dirty instrumentals and 32 minutes of straight bars.
Highlights include the dreamy drum rolls of “2001: A Space Yodessy” and the grimy and droning “Meteor Man”, which features not only excellent turns from Lil Ugly Mane and billy woods, but also some of the album’s best bars ( “Ain’t no writer’s block when the rent is due”). Other highlights include the funky “Blue Hawaiian” with its smooth basslines and old-school drums and the regal “Dom Perignon”, both featuring verses from Tha God Fahim. Space Bar is another notch in the belt of one of the most consistently impressive and often overlooked voices of the current underground; if Your Old Droog can keep up the quality of this project at the same rate that he’s been dropping, we might be witnessing an all-time-great run.
I don’t know a better place to start writing about Portland-based rapper Aminé’s latest project, TWOPOINTFIVE, than where the album itself begins - a short poem by comedian Ricky Thompson: “Fuck all the bullshit you going through right now.” TWOPOINTFIVE is fun. Limbo, Aminé’s last project, was too, but it was seasoned with tracks like “Solid,” “Roots,” and “Burden” that are more serious and show the rapper reflecting on his growth and maturity. After Limbo, an album that blended two moods perfectly together, dropped, Aminé had three options: repeat the recipe that worked (a dangerous move for an artist who diversifies his discography with every release), lean into the “conscious” rapper label, or master his ability to excite and energize. He chose the third.
After the rise of hyperpop, a genre built for people “just trying to feel something for once,” there have been a handful of rappers attempting to incorporate it into their work. TWOPOINTFIVE takes the cake. The project matches the uptempo, lighthearted side of hyperpop with Aminé’s colorful flow, wordplay and inflections. And, like I said, it’s fun. It’s “I fully slipped while dancing in the shower to “Charmander”” fun. Or “I almost hit a pedestrian while head banging to “Mad Funny Freestyle” in the car” fun.
There’s not a lot of analysis for this one. If you catch the hyperpop hypnosis, you’ll love the album. The production is a series of alterations on a specific mood, theme and combination of genres (hip-hop and hyperpop). Aminé’s lyrics aren’t especially revealing, detailed or thought-provoking, but they match the production perfectly and showcase his ability to mold his flow in a multitude of ways. The most I can offer are my personal highlights.
“Between The Lines” is my favorite. The loud, uptempo drums carry the track. They live in the intersection between hyperpop, house, hip-hop and breakbeat and hold enough focus to let Aminé flow outside his comfort zone. “I wish you could read between the lines,” he sings with an early-2000s boy band member type cadence and pitch. A soulful organ and bubbling synths complete the song and prove an eclectic combination of seemingly competing genres is more than possible.
Lullaby-like bells and Aminé’s whispered and Carti-baby-voice-inspired vocals make “Van Gogh” my sleeper pick, both literally and figuratively. In the best way possible, I could fall asleep to this cut. It’s like listening to an ASMR YouTuber that’s getting into music and has loads of potential. However, energetic Bay Area-inspired drums and a booming 808 fit the track nicely into the colorful and electric TWOPOINTFIVE. Not to mention, the chorus is infectious. I doubt “this ain’t no Van God, this a Van Gogh, stupid” has any deeper meaning, but it doesn’t need to. It’s fun and makes me happy. This whole album does.
Eclectic LA-based artist Dijon’s newest solo project, Absolutely, is an enigma. In part a smooth and forward thinking R&B record and in equal measure a sprawling yet intimate mix of folk, rock, and Americana-inspired longing, Absolutely is a listen full of experiments and emotional pangs. Highlights like the more traditional “The Dress” see a punchy drum pattern define an almost Steve Lacy-esque instrumental, rich and easygoing, complemented by an impassioned performance from Dijon accentuating his vocal chops and an inviting drawl; the lyrics speak of a lost flame, and an offer to spend one more night together: “We should go out and dance like we used to dance/ We should go out and hold hands like lovers hold hands/ And I can’t tell you who’s gonna last/ Well maybe that’s the question, an answer I don’t have”. Other cuts like the equally emotive “Annie” present a looser and more open soundscape, defined by heavy brass and saxophone accompanied by acoustic guitar and gorgeous layered vocals; comparisons to other sounds are hard to even nail down on this song, and it results in an immediately compelling moment early on in the record.
The spacey “Noah’s Highlight Reel” feels like a mix of a dramatic country twang and the types of vocals and sounds one would find on Frank Ocean’s Blonde, complete with a gut-wrenching performance that could rival Ocean himself. The record’s back end is rife with equally passionate moments, such as the rawness of “Rodeo Clown”, which feels like a raw and almost unmixed moment of outcry straight from within the studio walls: “I still wear the t-shirt that you gave me/ So what are you so afraid of?” Dijon’s Absolutely is certainly not without flaws; namely, it definitely feels almost too abstract and formless. Many might find this lack of structure and overarching connective tissue appealing, in much the way an album like King Krule’s The OOZ hits a certain mark; in my listening experience, it hasn’t proved to be as complete a project I would hope it to be. That being said, it’s one of the few instances where I can almost overlook that formlessness because the ideas at play here are so unique and forward thinking that I can recommend a listen to anyone. In fact, the earlier comparison to Frank’s Blonde is perhaps the most apt I can think of; the way that this record’s best moments feel vast and spacious while also feeling intensely intimate makes it almost incomparable to most anything else. Dijon is, if anything, an artist to watch, even more than he was before; this album’s high points are among the most beautiful and emotionally compelling I’ve heard this year.
Tierra Whack is without a doubt one of the most off-beat and interesting artists currently working, and her 2018 project Whack World, lavished with praise following its release, is to this day unparalleled in concept, being a 15 track album that runs 15 minutes. Whack has since grown to new highs with a string of fantastic singles over the last few years and high profile collaborations, musically and in other avenues, including collaborations with Vans. Whack has announced a new EP, titled Rap?, releasing December 2nd, alongside a new line with Vans releasing on the 3rd entitled “Weird Hype and Creative Kids” (“WHACK” for short).
Moses Sumney has remained one of the most interesting and compelling voices in the R&B space for the last few years, and following the release of both discs of his critically acclaimed grae last year has announced the upcoming live album Live From Blackalachia, a one-take capture of a performance of tracks from grae and Aromantacism performed in the Blue Ridge Mountains of Western North Carolina. Sumney also directed the accompanying film, Blackalachia, and the performance consisted of 14 songs, 2 of which, “In Bloom (in the woods)” and “Bystanders (in space)”, are out now. Live From Blackalacia is out December 10th.
Because this is my first ever blog post in the entire world, we are gonna keep it all about me. Not about the ins and outs of myself, but what my blog is about, what I will be covering, and the music that has me in a death-grip, white knuckled, choke hold.
You probably aren’t wondering, but I will explain the very small elephant in the room which is my blog name that I hold somewhat close to my heart. Let’s take it back three years ago, the summer before my senior year of high school, when my two best friends and I would drive everywhere together blasting music in my friend’s beat-up, hand-me-down Chevy Envoy that we called “the school bus.” A certain song by a man that shall not be named (and should not be streamed in light of recents events), called “SICKO MODE’’ dropped, and oh my god did this song take the world by storm. You may not judge me for my enjoyment of this song because it is an obnoxious banger, and I will die on this hill. Anyway, back to the envoy, whenever my two best friends and I were in the car, without a shadow of a doubt, I would ask for the aux about halfway through the drive and tell them “you’ve never heard this song before” and every single time you know what I played? “SICKO MODE”! It worked a few times until finally they understood that every single time I said that, that dumb 5 minute 11 second song came on. From that, birthed one of my greatest jokes of all time: whenever I play a song I know someone has heard before, I give a small smirk and say “oh you’ve never heard this song before”. What makes it even funnier to me, is that it was a mockery of people being possessive and weird about knowing songs they think are “underground and different”. So now I just use it for everything, and thus, my blog name, because you’ve never heard this stuff before ;)
Now that you have witnessed my awesome story-telling skills, we are diving into the thick of the music I feel has been a huge staple in my life. Later, in weeks to come, look out for my opinions on albums that have recently dropped, what fellow students are listening to (which of course comes with my unwarranted opinion), reviews of shows I attend, and my playlists for the week.
First and foremost, my very first music memory. The album that to this day absolutely blows me away is I and Love and You, released in 2009 by none other than The Avett Brothers. I would give anything to listen to this album for the first time again, to me there is nothing like it. It truly has every single music element that makes my head tingle. I love this album, it is heartbreaking and freeing and healing and funny and poetic and romantic and so on. I have NOTHING but good words for this true masterpiece. Please, if you get anything out of this blog post and miss my funny jokes, listen to this album.
Skipping further down the timeline of my life, into my adolescent year, we all know this album, we all love it, and it played on my used record player on blast in my room at my grandparents’ house. The 1975 debut album 1975. There was nothing that made me feel more cool than listening to this album on repeat. The best part was making my mom read all the lyrics with me, and to my surprise she was not pleased with me being obsessed with songs about smoking marijuana and shooting up gas stations, but still, I was amazed by the very violent love songs Matty Healy (the front man of the band) could write. He truly had my 13 year old self crying over a heartbreak that had never even happened.
Last but certainly not least, this album found me at probably the most perfect time, which is in the midst of my very first heartbreak. A huge downer I know, but this album makes the pain of a heartbreak, much much worse. Julia Jacklin’s second studio album Crushing is the true epitome of sad girl hours music. Her soft voice and incredibly beautiful lyrics that somehow seem to put every single one of your unknown feelings into words. This is a close second with I and Love and You, I have nothing but good words for this album as well, even though it will quite literally leave me in a puddle of tears the second it starts playing.
That is all the vulnerability I can spill out in one day for my fellow dawgs and music lovers. I hope you listen to these albums that have truly made me the music lover I am today. Keep an eye out for more of my silly little opinions in the coming weeks.
Does making music require talent? Not necessarily! Are overly auto-tuned commercialized songs (á la “Friday” by Rebecca Black) valueless? Absolutely not! Music that is the result of an excess amount of cash, C-level celebrity status, and vapid self-obsession is some of the best the world has to offer. It’s absolutely meaningless and fun.
Knowing this, it’s no surprise that many celebrities’ discography falls into this category, but few master it the way overexposed, niche celebrities do. The current reigning supreme of this genre is Trisha Paytas. Paytas is groundbreaking in many ways, none of their achievements are overly relevant to individuals who do not chronically reside on the internet but they’re groundbreaking nonetheless. Just like Paytas themself, their music lacks consistency except for its overall extravagance. Paytas utilizes music production as a way to live out all of their fantasies and it appears they could care less if there’s an actual audience for this. But I’m here to announce that not only is there an audience for it but it is an untapped market for the girls and the gays.
Now that it’s been established that the value of Trisha Paytas’ discography is undebatable, here’s a breakdown of what I believe to be their 3 most iconic songs. I hope these songs find a permanent place in your playlists, whether you use them for your breakdowns during finals or for pregaming.
Disclaimer: While I’m tempted to include her single “I Love You Jesus”, a talk-singy Christian anthem Trisha put out in 2017, its younger sibling, “I Love You Moses” blows it out of the water. “I Love You Moses” is a tribute to Paytas’ fiance who is conveniently named Moses. While this song has strong biblical allusions, it acts as a larger advertisement of the fact that Moses is Jewish, something Trisha loves to point out (it’s as weird as it sounds). Personally, my favorite lines of the song are “Egyptian or oppressed//We must always do our best” and “I love you Moses//You freed the slaves//And you freed my soul”. Is this in poor taste? Yes. Is it corny as hell? Absolutely. Is it weirdly enforcing the idea that meritocracy is the way to escape oppression? Yeah, for some reason! The thing is that this is a marker for Trisha’s music (as well as their whole career honestly). Trisha puts out things that should have been flagged as in poor taste the second they left their mouth, but I think we should all remain thankful no one is holding us back from having a bop about Biblical times.
Secondly, Paytas’ song “Leonardo Dicaprio” depicts Leo’s hot guy era like nothing else. While I’m not a Leo fan, this song encapsulates my misguided affection for random celebrities like nothing else. It also serves as a great reminder of Dicaprio’s filmography. It features notable verses like “He could whip me every night //Just like Django” and “I’m off in candyland//With all the fingers”. The first one is absolutely reprehensible but acts as a great reminder of how minimal Paytas’ grasp of pop culture and history is. Honestly, if anything it serves to make me laugh and is a nice reminder that I hope will never fall this far in my grasp on reality. I honestly doubt Paytas writes their own songs but it’s a lot more upsetting to imagine that someone else wrote this for them and thought it was ok. The second line just makes no sense and that is its genius. This song makes my list because it makes me laugh and laughter is important.
Lastly, just in time for the holiday season, “A Christmas Jesus Bop” occupies my third slot. This song exists just on the precipice of things that are cool. It reads a lot like adults trying to write teenagers but again lacks all social tact. Paytas describes immaculate conception as “A virgin conceived and the world went, ‘Woah!’//No, she wasn’t a hoe, it was so much more”. I personally admire that they insinuated people called Mary a hoe, I think it’s brave. It’s also important to note that for someone who has built their brand off of being fairly sex-positive they decided to bring slut shaming into Christmas randomly, which is a choice, not a good one, but a choice nonetheless. Paytas tackles mental illness as well, and again it appears quite suddenly and randomly but they raise the question “Who needs antidepressants, when Jesus is born?”. And while I think she assumes no one I will have to say I do! They end the song on a strong note by asking “And please no more shootings this holiday season//Thank you!”. Which like yes, but also why? Why is this the last verse of the song? If I liked Trisha I’d say it was a bold artistic choice, but I don’t.
Overall, I hope you leave this article ready to listen to a fuck ton of Trisha Paytas and maybe, just maybe, it makes you feel a little better. Paytas’ music is in poor taste but it’s silly and it’s not like they’ll stop making it anytime soon so it’s better to just sit back and enjoy the ride! :)
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