Killing Me Softly

The one where Grayson falls in love in under 12 hours

A/N: Here’s another fic inspired by literally nothing. I am pretty proud of this one though. To all the people who said nice things about Drunk Off You, just know that I read every single one of them and you own my heart and soul. Also, I know literally no one knows who I am but feel free to send asks or messages. I pinky promise to respond. ♡

Word Count: 1.7K

Pairing: Grayson Dolan x OC (Harlow)

Warnings: nothing really, it’s pretty tame minus a lil angst towards the end. 

“Are you B29?”

Harlow removes an earbud, looking up to meet big brown eyes staring back at her. It’s hard not to notice the rest of the man standing in the aisle.

Brown hair flops over his forehead as she moves her eyes down to appreciate the soft scuff lining his chin - not quite a beard, but not quite stubble. He’s dressed casually in a gym shirt that outlines every single bulging muscle paired with grey sweatpants and some Louis Vuitton slides. She nods slightly to his question, hoping the adonis of a man doesn’t notice that slight blush that’s appeared on her face. He offers her a gracious smile and effortlessly slings his carry-on into the overhead cabin.

“Looks like we’re neighbors then.” Harlow hums in acknowledgment, not sure why he’s so friendly. Most passengers would’ve just grabbed their seat and slept or occupied themselves, but this man intends on making himself known.

He slides into the neighboring seat, and Harlow is instantly overwhelmed. If she thought he looked good from afar, up close was even better. Here she could appreciate all the minute details — the dark mole on his chin, the expensive cologne, the 333 tattoo behind his ear. It took everything in her not to stare, so instead, she settles for quick glances hoping he would be too occupied by his phone to pay her any attention. If he did notice, he spared Harlow further embarrassment by not saying anything. She turns back to her magazine, a random Vogue issue she picked up in the airport convenience store to pass the time, mentally telling herself to calm down in order to get through the next three hours.

“ I’m Grayson, by the way. Just in case we crash, and you need to identify me.” He jokes, smiling widely and — oh shit, does he have a diamond in his tooth? Harlow is so screwed. 

—-

Grayson’s never been a big believer in fate until now. The idea of some external force dictating a situation in your life just seemed like bullshit. Yet, Grayson couldn’t describe meeting Harlow as anything else.

He had been irritated all the way up to that point. An overbooked plane forced him off his original flight and away from his twin brother. Ethan had offered to go with him, but Grayson didn’t see a point in delaying their trip even further and told him he’d meet him in Jersey. While the airline was over apologetic and gave him (terrible) perks, in order to make the next flight, he had to sacrifice his first-class seat for an economy red-eye flight. But at least he had a shitty hot towel to make up for it.

He scowled all the way through the check-in and tarmac, vowing to never fly with JetBlue again as he passed the first-class seats that he couldn’t help but stubbornly think, ‘That should be mine.’

It wasn’t until he reached his row that he realized what he thought was a hindrance was actually a blessing. Because there sitting in the seat next to him was a beauty that could only be described as ethereal. Her long, dark hair tumbles in tight coils down her shoulders as she sits crossed-leg, hunched over a magazine, biting her lip in furrowed concentration. She bobs her head slightly to whatever song she’s listening to as she quickly flips through the pages. She tucks her hair behind her shoulder, revealing blemished copper skin that reflects the light.

A small voice in his head (that suspiciously sounds like Ethan) tells him to stop being weird and talk to her. Before he can justify themillion reasons why he shouldn’t, an annoying cough comes from the lady behind him.

He turns around to glare at her a little and asks the mystery girl her seat number with a smile that he hopes comes off as charming and not predatory.

And fuck, he knows she has to be a blessing because she looks like she was sent straight from the gates of heaven to Grayson’s heart. Ironically, the plane’s fluorescent lights form a halo around her head (‘Or maybe you’re finally losing it.’ Ethan's voice tells him.) He blinks, once, twice, three times before realizing that the girl in front of him isn’t a sleep-deprived hallucination and is actually real. He tries to act unaffected by the slow once-over her round, onyx eyes give him. Still, when he notices her eyes lingering on his chest and thighs, he swallows hard before throwing his suitcase into the overhead and sitting down. 

The grumpy lady behind him gives him a look as she moves down the aisle, and he whips out his phone for a welcomed distraction. The girl, unaware of the havoc she was wreaking on Grayson’s mind and body, continues to sneak looks at him that were a little too obvious for Grayson to not notice. He debates whether or not to ask for her name until she turns back to her magazine and Grayson figures that she doesn’t want to be bothered anymore. It wasn’t until the voice in his head repeatedly calls him a pussy (‘Shut up, Ethan’ he thinks back) that he introduces himself. And when her plump lips turn up into a smile, Grayson pretends to not notice how screwed he is. 

—-

Conversation flows smoothly between the two of them after that. Grayson explains the situation with his original flight and his plans to surprise his mom for mother’s day while Harlow talks about her little brother and the birthday party she helped plan for him this weekend. They talk for so long that their conversation turns from typical discussion to hushed whispers to not disturb the other sleeping passengers. They finally pause for a break when the beverage attendant stops at their row.

Harlow’s honestly glad for the lull in conversation as it gives her time to reflect over what she’s learned. Grayson appears to be very humble despite being heavily involved in the influencer scene in Los Angeles, something Harlow desperately tries to stay far away from herself. Also, despite being one of the hottest guys she’s ever seen, he seems to be so shy that it’s endearing. She notices he stumbles over words, getting so excited about their conversations that he trips himself up.

“So in LA, what do you do for fun? Any friends? Boyfriend?” He asks coolly, trying not to be obvious about his intentions (which makes it so much more apparent in Harlow’s eyes) as he drinks his diet root-beer.

“I work for a high- fashion company doing PR, so I’m always there. I have a couple close friends, but since I’m working so much, I haven’t had that much time for a relationship or finding a guy worth making time for.” Harlow sighs wistfully.

“Ah, that makes sense about the magazine.” He nods, trying to hide his excitement. This situation seems to be working more and more in his favor. “And what guy would be worth making time for?”

“I don’t know honestly. It just seems that all the guys I run into in LA are beyond superficial. All my dates have just been talking about how many followers they have on Instagram or TikTok and just end in hookups. While there’s nothing wrong with that, it’s just hard when you want something more, you know?” She shrugs. And as much as Grayson hates to admit it, he does know. Hell, he’s probably been that guy once or twice in his younger years. Still, as he grows older, he craves the same things Harlow does: intimacy, connection, emotion. He takes another swallow of his drink before responding.

“Yeah, I mean hookups and one-night stands are great in the moment, but it’s hard when you just have love you want to give. It’s even harder now that my brother’s dating someone, ya know. Seeing someone you’re close with have what you want; it’s kinda hard not to be jealous.” He shares, hoping she relates and doesn’t think he’s weird for telling so much to someone he met a few hours earlier.

Harlow sits with that for a second before responding, “And what girl would you want to give your love to?” She whispers.

’Someone like you.’ Grayson thinks. But before he could make the bold confession, the plane announces its descent.

——

Grayson realizes almost immediately that he wasn’t paying that much attention to the flight details because the fact that there was a layover in Colorado flew over his head. He lets Harlow pass by him to stand in the aisle and grabs both his and her carry-on to take off the plane. As Grayson stands behind her (and tries not to stare at how incredible her ass looks in her leggings), he does what he’s best at: forming a game-plan. He realizes that a girl like Harlow is too good to let go. So, he figures he could grab a coffee with her, get her number, and plan a date for when they both are back in LA. He smiles, already thinking of the story he’ll get to tell Ethan when he gets to Jersey. As they both slowly move into the terminal, Harlow turns back to Grayson with a bright smile. He smiles back before asking —

“Do you want to get coffee?” He can’t help his heart from swelling as she bites her lip, a habit he notices she does a lot.

“Good, I thought you weren’t going to ask.” She laughs. “Wait here though, I have to run to the restroom.”

He nods, handing Harlow her carry-on. He sits down and pulls out his phone, already texting Ethan that he met his future soulmate.

Five minutes pass: He’s got the future planned out: the wedding, the kids, the farmland in Jersey and the tiny-home in Australia.

Ten minutes pass: He starts to get worried, but figures Harlow can handle herself.

Thirty minutes pass: He considers sending someone to the bathroom to check on her.

Two hours passed: He’s already cased the domestic airline terminal twice, looking for her dark curly hair. 

It’s not until the final call of flight 437-A to New Jersey that he understands: Harlow’s not coming back for him. And he can’t help it when his heart splits into two.

Day 3  - Tuesday, Jan. 16, 2018

【 LIL BACKGROUND INFO 】

Didn’t get much sleep and my anxiety spiked up (both as a result of no sleep and because just in general, I’m sensitive to situations where I am to blame (referring to my job that I’m dreading atm).

BOTTOM LINE: Not so sleep deprived, but still sleep deprived

【 THE RUNDOWN 】

SNACK :: - Nothing

【 THE NEW NEW 】

FINALLY tried out a plain ass, yet somewhat healthy breakfast

Lowest water intake so far (3 cups only; Sunday was 4; Monday was 5); Me thinks I’m gonna have to take it up a notch with the reminders to complete the goal of 8 glasses/cups of water a day.

FUNFACT : Caela and I used to challenge each other on who could complete the most days of drinking 8 glasses/cups of water a day. That was fun :)

For dinner, the fam decided to eat out since Ally needed to buy school supplies and I had to get gas for the family car. We went to... IN-N-OUT (dun dun dunnn). Usually, this is supposed to be a treat because it’s such a cheat meal (or maybe not; idk about it’s protein benefits since it’s one of the more fresher fast food places). That shit was so bomb. At the same time, it was just alright. lol, idk how to explain it, but maybe my daily intake of more spinach might be changing my taste buds. Also, I’m trying to figure out still why the Double Double Plain is listed as a smiley face, when it’s a beefy, cheesy, oily burger. I’m also confused by the :| face beside the root beer soda, yet it has that “L” symbol (the Lifesum logo) in the circle (something I’ve gotten before for a healthy choice (see breakfast and lunch; the eggs, whole wheat bread, and baby spinach). Hm hm hm. Fast food is interesting.

BTW, this diet might actually already be starting to put in work. When going to Target right after dinner, I felt not bloated for once. I mean, this should mean a bad thing because I would then be hungry, right? I was actually just content though. Usually, before this regime, I ate as I pleased and snacked whenever I wanted too. Thus, always feeling bloated come time for dinner. Today though, that’s not the case. I wonder if the exercising had something to do with it too...

Speaking of which, I picked up my kendama for my first serious session of 2018. That never gets counted toward my exercise though. For some reason, only steps are counted by my iPhone (even though it has the capabilities to sense more; might be a battery conservation method, while still tracking at least cardio fitness). Along with that, I apparently burned 196 calories from when I was walking back and forth around school today (was just taking care of financial aid and classes stuff; school actually starts next week and NGL, i’m afraid of how that’ll affect this diet; NGL kinda excited too though). This cardio should’ve gave me more calories to work with eating, but I guess the In-N-Out washed it all up. Today marks the first time I went over the amount of calories I was supposed to intake. Sokay though, it’s only by 45 cals. Can’t wait to start being more strategic and adventurous about this thing. Just gotta find the time to meal plan...

So I updated the app to a more precise reading of my weight (181.4 lbs) and changed the time goal to reach 140 lbs as 24 weeks... although I’m looking at this now and I think it changed to 38 weeks by itself... hm. That would mean I’d be losing 1.1 lbs per week. Apparently that’s the “Steady” & “Recommended” rate for my current weight-to-goal aspiration. Soo... I think I’m gonna boost this to it’s new maximum realistic quickest speed: 29 weeks; losing 1.4 lbs / week. I mean, what’s 0.3 more lbs per week anyway? lol (this is gonna bite me, I already know it; might tone it down later; good to test one extreme of the spectrum before finding my happy spot... who knows... this might be IT. ahaha, to the extremeee!

REVIEWING THE CHARTS: 23rd June 2019

Typically I’d call a week where we have two top 10 debuts pretty busy but when that and a couple Drake songs are basically all we have, it’s not that big of a deal... but these very few new arrivals will have a lot to unwrap, so part of me thinks this won’t be a short episode at all.

Top 10

There were three songs I figured would definitely make a play for the top spot this week thanks to both star power and controversy. None of them even got close, because Ed Sheeran and Justin Bieber are still at number-one for a sixth week since its debut. There’s a better Ed Sheeran song in the top 10, can we get that up instead?

Stormzy’s “Vossi Bop” is only moving up two spaces this week because of the collapse of the songs above him, but I’m not complaining his boost to the runner-up spot.

Similarly, Billie Eilish’s “bad guy” is up two spaces to number-three.

Unfortunately, this boost has lead Lewis Capaldi’s “Hold Me While You Wait” up an identical set of placements to number-four.

Now, we have the first guess I had for number-one, and that is “You Need to Calm Down” by Taylor Swift, which debuted at #2 in America, becoming her 13th Top 10 hit over here in the UK. We’ll talk more about this one later, and it’s definitely a can of worms I’m worried to open.

The Chris Brown song debuting last week, “No Guidance” featuring Drake, has also had a two-space boost up to number-six, because of Drake and not because of the fading relevance of Chris Brown.

Oddly, “Old Town Road” by Lil Nas X featuring Billy Ray Cyrus has taken a hit five spots down to number-seven, but I really doubt this won’t be rebounding because of Nas’ EP that released last week.

Now this was my second guess for number-one, “Cross Me” by Ed Sheeran featuring Chance the Rapper and PNB Rock, up a singular space to number-eight this week. I think it’s a lock for the top five next week considering the video release, but we’ll see.

At number-nine, we have the late Avicii’s “SOS” featuring Aloe Blacc down two positions.

Finally, my third guess for number-one and one I’m surprised performed as it did. This is Little Mix’s “Bounce Back”, and that title is quite ironic but more on that later. Nevertheless, it’s their 14th UK Top 10 hit since their debut, and we’ll talk more about the song itself when it comes to it.

Climbers

There aren’t all too many here, but what is here I’m not exactly complaining about at all, because these are songs I really like. “3 Nights” by Dominic Fike, which is an insanely good song, has had a pretty large 10-space boost to #21, and I’ve  been rooting for this to get into the top 20 for a while now. There’s also last week’s debut which I quite liked, “Strike a Pose” by Young T & Bugsey featuring Aitch up five to #25, but that’s pretty much it. I wouldn’t usually note a song which is up four spaces either, but “Ladbroke Grove” by AJ Tracey is at #22 now and I am rooting for this song so much, I am not giving up until this hits #1, it’s an outstanding song.

Fallers

Now we have a lot more of these to say the least. Starting in reverse order, “What Do You Mean?” by Skepta featuring J Hus is down 14 to #39, with “Greaze Mode” also by Skepta featuring Nafe Smallz down nine to #37 and “All Day and Night” by Jax Jones and Martin Solveig presenting EUROPA featuring Madison Beer down a whopping twenty-four spaces to #34 thanks to streaming cuts. We also have “Heaven” by the late Avicii featuring Chris Martin down eight spaces to #28 (The quicker the better), “Shine Girl” by MoStack featuring Stormzy down 10 spots to #23, “Grace” by Lewis Capaldi unfortunately not switching its spot with another Capaldi single as it’s down five to #17, speaking of, “Someone You Loved” is finally out of the top 10, down eight to #11, but I feel it’ll be back again when Little Mix drop off a bit.

Dropouts & Returning Entries

MoStack is proving his lack of longevity compared to Skepta as both of his album bomb hits from last week, “I’m the One” featuring Fredo and “Stinking Rich” featuring Dave and J Hus, are out from #39 and #19 respectively – probably because they weren’t any good in the first place. We also have the absolute collapse for Liam Gallagher’s “Shockwave” out from #22, but I don’t expect post-Oasis Gallagher singles to ever have any legs, so it’s fine. Thanks to hype dying down about the Detective Pikachu film the song was made for, “Carry On” by Kygo and Rita Ora is out from #35 and I don’t expect it to come back. Oh, and that Jonas Brothers song, “Sucker”, is out from #40 – finally. We do actually have a returning entry also, because “Summer Days” by Martin Garrix, Macklemore and Patrick Stump of Fall Out Boy is back to #36. A lot of the songs outside the top 20 are showing promise actually, I’m definitely seeing a lot of improvement within the Top 40 and I’m excited for these to become fully fledged Summer hits. I’m also glad to hear a Macklemore verse on the charts again. This dude gets too much slack.

“ALBUM” BOMB?

Drake – The Best in the World Pack

This isn’t exactly an album but it’s an EP or single or whatever, a two-pack? I don’t know, but it’s Drake debuting two songs from the same project, so I’m going to count this as the third episode in a row with an album bomb. Drake’s “Best in the World Pack” is just a group of two trap bangers to celebrate the win of the Toronto Raptors, or whatever, I don’t care about American or in this case Canadian sport, I just have to review the music every week.

#33 – “Omertá” – Drake

Produced by OZ, EY and Deats

This is Drake’s 48th UK Top 40 hit, which is something I didn’t think could even possibly happen but sure, let’s go with it. This is one extended verse which a pretty janky guitar-lead trap beat behind it, with gliding strumming and an organ, it’s not all that awful of a production, but then Drake bores me insanely with his ramblings about “Mob tradition” because of course, he has mob ties (Lotta ties, lotta tieeeeeees) and he really wants us to know. So, he brings up Pusha T in his monotonous, droning delivery as he would typically do, with flows that sound like he’s just thinking of it on the spot and not really putting any effort in to connect his bars, in a typical Drake way where he develops the rhyme scheme by halting the momentum of his verse completely. There’s no mention of the Toronto Raptors, it’s just about him and honestly, it’s just something we’ve heard so many times before. The self-proclaimed “Petty king” doesn’t really have any interesting bars mostly because he doesn’t attempt wordplay. He’s just stating “I’m rich and got mob ties” a lot of the time, and then his verse literally fades out, but it sounds like it was right in the middle of a bar and he wanted to continue, but the producer cut him off. I don’t know, I don’t care.

#13 – “Money in the Grave” – Drake featuring Rick Ross

Produced by Cydney Christine, Ljay Currie and Asoteric

This beat was produced by an Instagram model, and is Drake’s 49th UK Top 40 hit, as well as Rick Ross’ something or other, I’m not going to bother counting especially since the Wikipedia page doesn’t list UK as a section in his featured singles so I’d have to go page by page. But yes, as expected with no-name producers, this beat isn’t any interesting and feels like a pretty non-subtle way of blending the new West Coast bounce that is very prominent now but keeping it safe with a menacing trap beat so it’s not as jarring and can age better than the people who really care about the culture and making West Coast hip hop about their experiences in that environment. Oh, but this song also kind of bangs to be honest with you. It’s a bit too non-existent for my taste, and by that I mean Drake’s vocals are mixed a tad too loud, I feel, and while his bars usually connect, they often feel a bit too much like sentences that just drift away from one ear to out the other, although some of them I remember because they’re especially kind of dumb, where he uses the fact that he’s friends with Max B to hit Kanye with another jab as well as saying he’s going to get a face tattoo, which Drake is definitely a bit too safe for. Also, he says this:

I got two phones, one need a charge / Yeah, they twins, I could tell they ass apart

How do these two lines make sense together? I don’t like to nitpick but Drake’s a rapper rapper so I feel the need to say that these lines directly juxtapose each other.

Anyway, this song is shorter than “Omertá” and actually has a chorus, yet is somehow just as boring, because Drake is way too dull to carry a beat this safe and only slightly West Coast-tinted so it has no real bounce, since it’s still grounded in a stilted trap beat. Rick Ross sounds half-asleep but his verse is pretty good, I especially like his inflections on “Bounce” and everything that rhymes with it. Also, his guest verse tag, the “M-Maybach Music”, will always be fire. I hope his pear diet is going well, but overall this just isn’t very interesting. How about we bring back a segment we haven’t done in a while just to show what real charisma and energy is in trap?

FEATURED SINGLE

“Lalala” – Y2K and bbno$

Produced by Y2K

Y2K is a producer who I haven’t heard much from, but the Canadian MC bbno$ is from the same camp as meme-rapper Yung Gravy, but I’d like to think they’re more than a meme and instead just rappers who use humorous and comedic deliveries to propel their punchlines and that’s never more evident than it is with bbno$’s breakout track that was released off of the back of a viral marketing campaign, “Lalala”. This song is dripping with carefree attitudes towards the music and shows how they’re actually having fun, which is something I didn’t notice with Drake and Rick Ross at all this week. The song starts with a short back-and-forth outtake from the recording sessions, which isn’t distracting enough to feel unwarranted on repeat listens, especially since it just takes eight seconds for that beat to drop and it wastes absolutely no time to get into it. The beat is a slick trap production infused with bouncy Latin guitar and occasional beeping noises, with bbno$’s delivery really shining out as he essentially just has three different choruses. The chorus is insanely catchy and he rides the beat with his high-pitched, somewhat mocking tone but the “verses” (Which feel like a different chorus) has an even more fun, somewhat emo-influenced flow, which I noticed because of the nasal tones of his voice and lack of need to really enunciate a single word he says. It’s not like the content is all that interesting, but there are quirks about it that really show his background as a meme/comedy-rapper, especially the use of the word “Wristicle” and instead of directly bragging about all the stacks he’s throwing, he starts the first verse with flexing his stable credit card score, with even some cool wordplay about Canada thrown in there. The nonsense chorus is so fun, and even when he breaks out of the two typical flows for a more typical triplet flow he puts on an accent and just runs out of words to say, but instead of feeling incompetent (Which it still kind of is but that’s the point), this feels like the dude is actually having fun and you know, enjoying his job and his lavish lifestyle – which, by the way, is probably not that lavish. The dude says the word “Wristicle” several times in the chorus, do you REALLY think he’s getting any?

EDIT: I have just found out he does not say “Wristicle” and instead says “Wrist, it go”. My headcanon is better. But yeah, check this out, it has a pretty kicking Latin groove behind the trap beat and mocking lyrics, it’s great.

NEW ARRIVALS

#10 – “Bounce Back” – Little Mix

Produced by Swiff D and Stargate – Peaked at #2 in Scotland

I can’t help but think this is pretty seriously underperforming. Okay, sure, a top 10 debut is nothing to scoff at, but history’s told us you expect a Little Mix single to hit the top spot, so after “Woman Like Me” stalled at #2 and the album wasn’t as successful (Although still massive), I have full belief that they’ve made the worst decision possible, having a rushed single to alleviate fears of falling off, and sadly that often leads to even less success with that single and album. The last time they made a comeback, it was special, but this is an afterthought single. Oh, yeah, well, the song isn’t all that awful, it’s got a pretty fun bounce reminiscent of both trap and New Orleans hip hop of the 90s, although it does feel like a pretty cheap, manufactured rendition. You can REALLY tell this is one of these rushed singles, as the vocal mixing isn’t as flashy as usual, in fact the whole song is really odd, to be honest. After Jesy’s rap verse about taking Vitamin D (That hasn’t been done before, I’m sure), there’s a meaningless pre-chorus from Jade that just repeats a bunch of words that don’t really add anything to the song at all, like I’m fine with bland lyrics but come on, it’s just a bunch of faux-female empowerment/sex song buzzwords, before a really janky chorus that just sounds like one of the girls but it’s apparently all of them? They have an interpolation of “Back to Life” by Soul II Soul, but since the production is too lowkey and minimalistic, the chorus taken straight from that track, a much more glamorous and over-the-top song, it doesn’t work being translated to a moody sex song, in fact the fact that it’s four girls on the chorus probably makes it so much worse than just having Perrie, the more audible one. Then there’s a plastic-ass sax solo and I give up, this really isn’t even trying to have a pop spectacle anymore. Big Sean did it better. Also, I have started watching Celebrity Gogglebox specifically for when this band appears on the charts, because then I can know the names and any Mixers who find my blog won’t get mad at me for accidentally calling one manufactured pop star by the name of another manufactured pop star. When their onstage personalities are this similar, I don’t feel the need to care. The only one that shines out to me is Jesy because she’s the most obnoxious and genuinely awful, mostly because she tries to rap and AAAAAAAAAAAA

#5 – “You Need to Calm Down” – Taylor Swift

Produced by Joel Little and Taylor Swift – Peaked at #1 in Scotland and #2 in the US

Can I skip this one as well? No? Okay, well, first of all, I do not like this song’s lyrical content not because I’m a raging homophobic hillbilly as the video may suggest. In fact, I think the video’s got a larger issue than the song itself, where she uses slang inherited from both black LGBTQ+ as well as stan culture to get her point across, as it paints all of the people who are negative towards LGBTQ+ culture, and no it’s not a generic empowerment anthem, she explicitly says the word “gay” in the pre-chorus, as poor and just Texan hillbillies without a sense of fashion. First of all, nobody’s protesting Taylor Swift of all people, so I have a sense that this is making the issue about herself. Second of all, we should be fighting the people in power with backwards ideals, and I feel like she doesn’t know who is actually suppressing the community, which would be the people up top who are making the laws and controlling society from their government buildings, making decisions for what’s “best” for America, and they’re usually not just hicks who’ve never seen a grand in their lives to say the least, they’re usually suit-and-tie types with net worths that’d make the Monopoly man cry himself to sleep. Also, I feel like once again, she makes the video about herself. The scene where she makes up with Katy Perry in fast food costumes is supposed to be cute but it takes away from the message at hand and really just distracts from the actual topic, which is, you know, LGBTQ+ communities and oppressed communities as a whole, not Katy freaking Perry. This type of pandering content from the 1% usually bothers me and profits aren’t going to charity, but she is giving to them and she is being vocal about these issues so what am I to complain? She’s bringing LGBTQ+ people (Most already in the spotlight) to the spotlight—oh wait, yeah, that’s dumb, the video is less of a profitable pride parade and more of both a PR statement and a misguided attempt that just ends up as a “Bad Blood”-type celebrity cameo frenzy. The song isn’t any good either, it’s a pretty bland synth-pop track that directly rips off “Paper Planes” by M.I.A., which, to be fair sampled its bassline from the Clash, but I can’t listen to this song without thinking of the beautiful jacksfilms video  comparing the two songs. Also, “you need to calm down”? “You need to just stop”? What a powerful statement, that is, Taylor(!), and your disinterested rap flows don’t help, with corny lines about taking shots at HER, let me repeat, HER, like it’s Patron and the haters just being mad, when they can be... GLAAD. Sigh.

Conclusion

I spent some time talking about how I was excited for the Summer hits, but none of these debuts are good. At all. That’s pretty great though because none of them sound like they’ll stick around except Taylor, and we all know how “ME!” is doing so maybe not even that. Worst of the Week goes to Taylor Swift for “You Need to Calm Down” and we have a tied Dishonourable Mention to Little Mix and Drake for “Bounce Back” and “Omertá”. Uh, I guess Best of the Week can go to Drake for “Money in the Grave”, but trust me, that is because of Rick Ross and no one else. Follow me on @cactusinthebank for more musical ramblings and I’ll see you next week!

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Ace the helpful place is known as a beginning MTDC is selling to agriculture. The statewide levy is 5 and place have opened new opportunities for leisure activities. Even so farmers there have also had to diversify to make ends meet.