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Mila Kunis Says ‘Jupiter Ascending’ Was Destined To Flop When The Budget Was Cut

Whether you loved it or loved-it-after-mistakenly-hating it, there’s no denying that The Wachowski‘s Jupiter Ascending lost a lot of money. With a reported budget range of $176–210 million, the bombastic space fantasy where Mila Kunis played a maid destined for the galactic throne decidedly flopped. As it turns out, that wasn’t a surprise to Kunis.

“When did we know [Jupiter Ascending would flop]? Before we started production, because our production got slashed in half,” Kunis said on the Happy Sad Confused podcast. “And so the original budget was twice as much, and you can do a lot more with a lot more money, and often times those types of scripts have a very good storyline but extraordinary other things. Right before pre-production, for a multitude of reasons with studios and other things, the budget got cut, and the movie was different.”

It’s not clear whether she means that the budget dropped from $210 million to $176 million, or whether the reported budget is drastically far off from the meager 9 figures Warner Bros. and Village Roadshow Pictures cobbled together, but what’s clear is that when a budget gets hacked just before production, there’s a good chance the studio is either seeing writing on the wall or self-fulfilling a prophecy. Fortunately, even with the cost-deflated and the box office sagging, Jupiter Ascending remains a gorgeous triumph of high art weirdness. In an alternate universe, we’re getting Jupiter Ascending: The Way Of Water, and there are theme parks where Channing Tatum’s rollerblading space werewolf is the biggest attraction. Oh, to live in a world where Warner Bros. didn’t sandbag it all from the beginning.

(via Happy Sad Confused)

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Hollywood Records’ Podcast ‘The Big Score’ Sounds Like A Movie Music Lover’s Dream

There are plenty of outstanding podcasts covering movie and television scoring, but there’s always room for one more. At least, that’s what Hollywood Records intends to prove when it releases its first slate of The Big Score episodes. The series is a combination docuseries and companion podcast show where composers discuss how they built the soundscapes for shows like Only Murders in the Building and Under the Banner of Heaven. This follows a format featured in shows like One Perfect Shot where the filmmakers themselves roll their sleeves up to deliver the insights, struggles, and triumphs of what they created.

It also seems to be an equal-opportunity series, interviewing composers from all streaming services and studios. Here’s the full lineup according to Variety:

10/6
Siddhartha Khosla
Only Murders in the Building (Hulu)
Podcast + Docuseries

Jeff Ament
FX’s Under The Banner of Heaven (Hulu)
Docuseries

Pilou
Not Okay (Searchlight Pictures)
Docuseries

10/11
Daniel Pemberton
See How They Run (Searchlight Pictures)
Podcast + Docuseries

10/18
Ian Hultquist and Drum & Lace
Rosaline (20th Century Studios/Hulu)
Docuseries

Amanda Jones
Super/Natural (National Geographic/Disney +)
Docuseries

10/25
Carter Burwell
The Banshees of Inisherin (Searchlight Pictures)
Podcast + Docuseries

11/2
Daniel Pemberton
Amsterdam (20th Century Studios)
Podcast + Docuseries

11/9
Adrian Younge & Ali Shaheed Muhammad of A Tribe Called Quest
Reasonable Doubt (Onyx Collective/Hulu)
Podcast + Docuseries

Double the Pemberton? This podcast is wild.

It looks sharp and sounds even better. It’s incredible what the right hands can do with Home Depot buckets and a full orchestra at their disposal.

(via Variety)

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The Full ‘Bones And All’ Trailer Shows The Humanity Of Two People Who Eat People

It’s totally natural to get all judgmental and smug about the two young cannibals in Bones and All, but unless you’ve ever been put in a position of either eating your fellow humans or dying, you don’t know what you’re talking about, do you? Think about that before you get on your high horse, pal.

The reunion between Timothée Chalamet and director Luca Guadagnino sees the Oscar-nominated actor playing a Clyde-type “eater” who meets a Bonnie-type fellow traveler (star Taylor Russell) and begins a love affair that spans the highways and byways of an America filled with a startling amount of cannibals within a tight geographic area. Along the way they cross paths with the creepily desperate Sully (Mark Rylance) and others who refuse to turn on Incognito Mode when they search for “The Best Ways To Cook A Hand.”

It looks lush and grungy, adding to the budding subgenre of prestige people-eating flicks with Raw and We Are What We Are as its modern foundation. Dripping with romance, it’s a fitting follow-up to Call Me By Your Name, and, don’t be surprised, Guadagnino has already slapped down the jokes drawing comparisons between his new work and Armie Hammer’s (alleged) real life.

The movie hits theaters November 23rd, so plan to take your relatives to it after Thanksgiving dinner.

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The Creator Of ‘Moonlighting’ Announces That The Beloved Show Is Finally Coming To Streaming…Eventually (Hopefully)

It’s true that online streaming has made more movies and TV shows (and cat videos) available to the masses than at any point in history. But there’s so much that’s fallen through the cracks. Do you know you still can’t legally stream Cocoon? (There are also lots of masterpieces that are AWOL, too.) Meanwhile, no streamer has Moonlighting, the game-changing ‘80s rom-com-mystery-whatever that made Bruce Willis a star and gave Cybill Shepherd a much-deserved comeback. Now there’s good news…sort of…maybe.

On Monday, Moonlighting creator Glenn Gordon Caron dropped a big, tantalizing tease. Over a picture from his hit show, which ran for five seasons, ending in 1989, “Disney and I have put our heads together and come up with a plan. Big announcement Wednesday!!!” But by Wednesday, the news was…not what you might have thought.

After writing, CAT’S OUTTA THE BAG,” Caron wrote that, instead of the show coming to streaming, the “business of getting all 5 seasons of “Moonlighting” starring Bruce Willis and Cybill Shepherd ready for streaming has begun!” He added that it will be “an ambitious project” with “[l]ots of moving parts,” and that “it could take quite a while.” He added, “No word yet on where or when you’ll be seeing it — but it’s happening!”

In other words, it seems Caron and team figured out how difficult it will be, with rights issues and whatnot, to get the show online, but was ready to do just that. Maybe referencing Disney in his initial tweet was some kind of clue. They now own ABC, which aired Moonlighting back in the day. But perhaps someone else owns it now.

Anyway, who knows! But at least someone’s trying to make sure people can watch Moonlighting again, especially now that one of its stars had to retire from acting, making people want to watch the show that made him a household name all the more. Anyway, best of luck, and hopefully the next announcement is a bigger one!

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Jeezy And DJ Drama Announce A Mixtape Called ‘Snofall’ Arriving This Month

Earlier this year, DJ Drama and Jeezy teamed up for a song called “I Ain’t Gon Hold Ya.” Fans were grateful for this collaboration, especially fans of Jeezy, because it broke the two-year hiatus he’s had since his 2020 album The Recession 2. But now they have even more to look forward to because the two acts are unveiling a joint album together.

DJ Drama and Jeezy have announced that they made a mixtape, Snofall, which will arrive at the end of this month. It was announced last night, Oct. 4, in a commercial during the airing of the BET Hip-Hop Awards. Hopefully a new single on is the way. For now, “I Ain’t Gon Hold Ya” is all we have.

Meanwhile, it was just revealed how Jeez squashed his beef with Freddie Gibbs. In an interview, Gibbs explained, “We exchanged numbers and we both got on a plane and that was it. It was one of the most beautiful things ever. I been put it behind me, but I had to see him. And then when you look back, man, it wasn’t really nothing. That was f*cking a music disagreement. I didn’t really have nothing against Jeezy; I looked up to Jeezy.”

Snofall arrives 10/21.

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Trump Was So Worried About Not Looking Tough That He Forced Aides To Play A Fox News Clip Of Him Being Called ‘Masculine’ Over And Over

Donald Trump has always wanted people to think things about him that aren’t so. He tells his supporters he won, not lost, re-election in 2020. He straight-up makes stuff up about his political opponents. Not only that, but he gloms onto all the nice things people say about him, no matter how un-true. Last month it was revealed that these days he has aides read glowing tweets about him to his face, so he can bask in the glow of praise, no matter how questionable. Now this.

This latest unflattering fleck of dirt of course comes from Confidence Man, New York Times reporter Maggie Haberman’s epic tell-all about her many, many years of covering the man who dubbed her his “psychiatrist.” The reporter went on MSNBC Wednesday, where she talked about how Trump was a bit down in the dumps after the Jan. 6 riot, particularly when his Twitter account was permanently suspended. Luckily, someone on Fox News was there to pick up his spirits. Hogan Gidley, one of the Trump administration’s deputy press secretaries, was asked if the suspension had “emasculated” his former boss.

“I wouldn’t say emasculated,” replied Gidley. “The most masculine person, I think, to ever hold the White House is the president of the United States.”

This elated Trump, who, Haberman said, “called his former adviser to tell him he was correct, and had aides play the video of Gidley speaking several times.”

Sounds like being a Trump aide isn’t one of the country’s better jobs.

Trump, Haberman also claimed, had an obsessive habit of “brandishing photos of scantily clad women with whom he claimed to have been involved.” He even “appeared to keep the photos on hand to illustrate his boastful rendering of masculinity.”

But maybe Trump had a reason to overstate his virility. A few years back, Stormy Daniels, the porn star who was paid to keep quiet about an affair they had in 2006, disclosed her rather unimpressed take on his John Thomas. Trump did not enjoy hearing that — but then, who did?

You can watch Haberman discuss her Trump book on MSNBC below:

(Via Raw Story)

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The Onion filed a Supreme Court brief. It’s both hilariously serious and seriously hilarious.

Political satire and parody have been around for at least 2,400 years, as ancient Greek playwright Aristophanes satirized the way Athenian leaders conducted the Peloponnesian War and parodied the dramatic styles of his contemporaries, Aeschylus and Euripides.

Satire and parody are used to poke fun and highlight issues, using mimicry and sarcasm to create comedic biting commentary. No modern outlet has been more prolific on this front than The Onion, and the popular satirical news site is defending parody as a vital free speech issue in a legal filing with the U.S. Supreme Court.

The filing is, as one might expect from The Onion, as brilliantly hilarious as it is serious, using the same satirical style it’s defending in the crafting of the brief itself.


The Onion filed its amicus brief in support of Anthony Novak, a man who was arrested for and prosecuted for parodying the Parma, Ohio, police department on Facebook. Citing a law against disrupting police operations, the police searched Novak’s apartment, seized his electronics and put him in jail, where he spent four days before making bail. After a jury acquitted him of all criminal charges, he subsequently filed a civil lawsuit against the police for violating his First and Fourth Amendment rights. However, a federal appeals court threw out the lawsuit, ruling that the officers had “qualified immunity,” which protects government officials from being sued for unconstitutional infringements.

The Onion is petitioning for a writ of certiorari, asking the Supreme Court to review the Sixth Circuit Court of Appeals’ decision to toss out Novak’s civil rights suit. As NPR points out, one primary question in this case is whether people reasonably believed Novak’s Facebook page, which used the department’s real name and photo but had a satirical slogan (“We no crime.”), to be the department’s real page.

The Onion argues that such ambiguity and potential confusion is exactly the point of parody. But the way the argument is made—using satire and parody to defend satire and parody—is making headlines.

The 23-page amicus brief can be read in full here, but let’s look at some of the highlights:

First, the description of The Onion itself:

“The Onion is the world’s leading news publication, offering highly acclaimed, universally revered coverage of breaking national, international, and local news events. Rising from its humble beginnings as a print newspaper in 1756, The Onion now enjoys a daily readership of 4.3 trillion and has grown into the single most powerful and influential organization in human history.

“In addition to maintaining a towering standard of excellence to which the rest of the industry aspires, The Onion supports more than 350,000 full- and parttime journalism jobs in its numerous news bureaus and manual labor camps stationed around the world, and members of its editorial board have served with distinction in an advisory capacity for such nations as China, Syria, Somalia, and the former Soviet Union. On top of its journalistic pursuits, The Onion also owns and operates the majority of the world’s transoceanic shipping lanes, stands on the nation’s leading edge on matters of deforestation and strip mining, and proudly conducts tests on millions of animals daily.”

It’s clear to a reasonable mind that they’re not being serious here. And yet, this description is being filed in a real Supreme Court filing, setting the stage for the entire argument of how parody works.

“Put simply, for parody to work, it has to plausibly mimic the original,” the brief states. “The Sixth Circuit’s decision in this case would condition the First Amendment’s protection for parody upon a requirement that parodists explicitly say, up-front, that their work is nothing more than an elaborate fiction. But that would strip parody of the very thing that makes it function. The Onion cannot stand idly by in the face of a ruling that threatens to disembowel a form of rhetoric that has existed for millennia, that is particularly potent in the realm of political debate, and that, purely incidentally, forms the basis of The Onion’s writers’ paychecks.”

The writer of the brief clearly wasn’t going to let the opportunity to demonstrate the comedic nature of satire to pass simply because this was an actual legal document being filed before the highest court in the land, nor was he going to spare the judiciary from being the object of said comedy.

It took some gumption to write this paragraph, but oh gracious is it perfection. While arguing that parody functions by tricking people into thinking it’s real, the brief states:

Tu stultus es. You are dumb. These three Latin words have been The Onion’s motto and guiding light since it was founded in 1988 as America’s Finest News Source, leading its writers toward the paper’s singular purpose of pointing out that its readers are deeply gullible people. The Onion’s motto is central to this brief for two important reasons. First, it’s Latin. And The Onion knows that the federal judiciary is staffed entirely by total Latin dorks: They quote Catullus in the original Latin in chambers. They sweetly whisper ‘stare decisis’ into their spouses’ ears. They mutter ‘cui bono’ under their breath while picking up after their neighbors’ dogs. So The Onion knew that, unless it pointed to a suitably Latin rallying cry, its brief would be operating far outside the Court’s vernacular.”

Just jaw-droppingly irreverent, and yet immediately following is a totally cogent and reasoned argument about the nature of parody, complete with citations and footnotes:

“The second reason—perhaps mildly more important—is that the phrase ‘you are dumb’ captures the very heart of parody: tricking readers into believing that they’re seeing a serious rendering of some specific form—a pop song lyric, a newspaper article, a police beat—and then allowing them to laugh at their own gullibility when they realize that they’ve fallen victim to one of the oldest tricks in the history of rhetoric. See San Francisco Bay Guardian, Inc. v. Super. Ct., 21 Cal. Rptr. 2d 464, 466 (Ct. App. 1993) (‘[T]he very nature of parody . . . is to catch the reader off guard at first glance, after which the ‘victim’ recognizes that the joke is on him to the extent that it caught him unaware.’).

“It really is an old trick. The word ‘parody’ stretches back to the Hellenic world. It originates in the prefix para, meaning an alteration, and the suffix ode, referring to the poetry form known as an ode.3 One of its earliest practitioners was the first-century B.C. poet Horace, whose Satires would replicate the exact form known as an ode—mimicking its meter, its subject matter, even its self-serious tone—but tweaking it ever so slightly so that the form was able to mock its own idiocies.”

The brief is a brilliant defense of parody wrapped up in perfect parodic packaging, which is even pointed out in the arguments to drive home the point, as on page 15:

“This is the fifteenth page of a convoluted legal filing intended to deconstruct the societal implications of parody, so the reader’s attention is almost certainly wandering. That’s understandable. So here is a paragraph of gripping legal analysis to ensure that every jurist who reads this brief is appropriately impressed by the logic of its argument and the lucidity of its prose: Bona vacantia. De bonis asportatis. Writ of certiorari. De minimis. Jus accrescendi. Forum non conveniens. Corpus juris. Ad hominem tu quoque. Post hoc ergo propter hoc. Quod est demonstrandum. Actus reus. Scandalum magnatum. Pactum reservati dominii.

“See what happened? This brief itself went from a discussion of parody’s function—and the quite serious historical and legal arguments in favor of strong protections for parodic speech—to a curveball mocking the way legalese can be both impenetrably boring and belie the hollowness of a legal position. That’s the setup and punchline idea again. It would not have worked quite as well if this brief had said the following: ‘Hello there, reader, we are about to write an amicus brief about the value of parody. Buckle up, because we’re going to be doing some fairly outré things, including commenting on this text’s form itself!’ Taking the latter route would have spoiled the joke and come off as more than a bit stodgy. But more importantly, it would have disarmed the power that comes with a form devouring itself. For millennia, this has been the rhythm of parody: The author convinces the readers that they’re reading the real thing, then pulls the rug out from under them with the joke. The heart of this form lies in that give and take between the serious setup and the ridiculous punchline.”

The Onion has outdone itself many times, but this amicus brief may be its best work yet right up to the end.

“The Onion intends to continue its socially valuable role bringing the disinfectant of sunlight into the halls of power…,” the argument section concludes. “And it would vastly prefer that sunlight not to be measured out to its writers in 15- minute increments in an exercise yard.”

Definitely give the full brief a read. You’ll certainly never read another Supreme Court filing like it.

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An Ex-‘Scrubs’ And ‘Californication’ Writer-Producer Known As ‘Hollywood’s Most Prolific Predator’ Has Been Arrested Again, Charged With 18 Counts Of Sexual Assault

A TV writer and producer accused by dozens of women of sexual misconduct — and who was previously arrested in July — has been arrested again. As per The Wrap, Eric Weinberg, whose credits include Scrubs and Californication, was rounded up for the second time in about two months. And just like the last time, he was able to post a sizeable bail and return to the streets.

Weinberg was the subject of a lengthy and disturbing story by The Hollywood Reporter in September, which dubbed him “Hollywood’s most prolific predator.” They spoke to more than two dozen women who’ve accused Weinberg of misconduct, some of them going back to 2000. They allege that Weinberg would approach them in public spaces — parking lots, grocery stores, cafés — and compliment their appearances. He would rattle off his credits, show off his photography — sometimes explicit — and ask them to come back to his place for a shoot.

Once there, Weinberg would pressure them to remove their clothes, using his placement in the industry as leverage, threatening to destroy their budding careers. Some of them allege that he would engage in sexual activity without getting their consent. Some of the women were underage.

Since at least 2014, multiple alleged victims have contacted law enforcement, but in some cases they either failed to follow up or performed inadequate investigations.

Weinberg’s divorce lawyer has denied the charges. Weinberg’s wife, who has filed for divorce, reportedly proved instrumental in helping draw investigators to his pattern of alleged abuse. The first time he was arrested, in July, Weinberg was charged with 20 counts of sexual assault but, after spending a few days in jail, set free on a $3.2 million bond. This time he was charged with 18 counts of sexual assault and released on a $5 milliom bond.

(Via The Wrap)

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Paramore Address An Alleged Serial Assaulter In The Crowd Of Their Utah Show

Paramore began their first tour in four years this week. In the Hayley Williams-led band’s second show on the tour at Great SaltAir in Magna, Utah on October 4th (about 15 miles from Salt Lake City), the band was made aware later that a man was physically and verbally assaulting women in the crowd, as well as a couple.

The band issued a statement on Twitter saying that, “We were made aware of an incident that happened in the crowd while we were on stage. A man physically and verbally assaulted multiple women, including an engaged couple at our show. Our security team and venue staff were made aware and were able to restrain and remove him.” The statement explained that, “We did not realize this was happening, as the incident took place out of view from stage.”

Paramore (whose sixth album is due out next year) made it abundantly clear in their statement that, “PARAMORE DOES NOT CONDONE violence, homophobia, or bigotry of any kind. It is supremely unwelcome in our community and has no place at our shows.” And added, “To make things as clear as possible: Paramore shows are meant to be a safe place for people. If you can’t respect that, do not come.”

Read the full statement from the band posted to their official Twitter page below.

Paramore is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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Indie Mixtape 20: NNAMDÏ Embraces The Weird Side Of His Brain On ‘Please Have A Seat’

Mindfulness is having a bit of a moment. After the last few years brought the importance of mindfulness into public discourse, we now have apps to help with affirmations and retreats focused on meditation and unplugging. But achieving mindfulness doesn’t always necessitate spending money or time on your phone. Sometimes, it’s as simple as taking a seat and having a moment of pause. That kind of mindfulness is exactly what Chicago-based musician NNAMDÏ was trying to emulate on his sophomore album, Please Have A Seat.

When the world felt overwhelming, NNAMDÏ decided to write music as both motivation and mindfulness. The result is a genre-bending and eccentric 14-track album that fluidly moves from pop-punk to hyperpop, jazz, and everywhere in between. There’s even some hard-rocking moments on Please Have A Seat, like when NNAMDÏ rips through a guitar solo on “Dibs.” His clever artistry is also on full display throughout his songs’ lyrics, like when NNAMDÏ manages to include a line about Miley Cyrus and “supercalifragilisticexpialidocious” in the same verse on “I Don’t Wanna Be Famous.”

Gearing up for the release of Please Have A Seat, NNAMDÏ sat down with Uproxx to talk Frank Zappa, embracing weirdness, and having the most fun he possibly can in our latest Q&A.

What are four words you would use to describe your music?

Good, Bad, Ugly, Hot.

It’s 2050 and the world hasn’t ended and people are still listening to your music. How would you like it to be remembered?

Hopefully I’m remembered as an innovator who inspired people to be better than myself and also as a guy that had the most fun I could have.

What’s your favorite city in the world to perform?

Philly. For suuuuureeeee.

Who’s the person who has most inspired your work, and why?

That’s a difficult question that could change depending on what type of work I’m doing. But I guess if we are talking all-encompassing, it’s probably Frank Zappa — his range, talent and work ethic. Not only him, but the folks in his circle. The web of musicians he worked with lead me to look up so many other dope artists and things. Being a strange child, a drummer, and wanting to compose when I was younger, it was like a match made in heaven. Also, the satirical content itched my funny bone and made me think about a lot of things perhaps other folks my age weren’t thinking about. I didn’t agree with everything, but his whole ethos was very inspiring… even though he was kind of an asshole. He was also ahead of the game on documenting and owning his own “content.”

Where did you eat the best meal of your life?

I just had a really good meal that is one of the best in recent history with my friend Clay. It’s this restaurant called Jitlada in LA. We ordered hella apps and every single one was f*cking bomb. There were a bunch of original Matt Groening drawings on the wall also, which was neat.

What album do you know every word to?

Sum 41’s Does This Look Infected.

What was the best concert you’ve ever attended?

I like different shows for different reasons. I love seeing my friends and homies in Chicago perform. One of my favorite shows was Fest in Gainesville, Florida — I think in 2015 or 2016. My band Itto played. I saw Capsule, which is one of my favorite bands, and Braid and Masked Intruder. I may be mixing two different Fest experiences. I also just saw Blake Mills and Pino Palladino play recently and that f*cked me up. I really can’t pick one show. I have been to so many amazing ones.

What is the best outfit for performing and why?

I am usually more about comfort than style, so a tank top and some stretchy shorts (for high kicks) is ideal. I’m shifting though. I’ve been into the full-body jumpsuit lately. Look like a pilot from the ’60s.

Who’s your favorite person to follow on Twitter and/or Instagram?

I love Jaboukie on Twitter. I don’t follow many people but I’m always checking his. He’s always doing something silly and fun. I also loved that Trump Regrets Twitter page which just showed people being like, “I shoulda never voted for you! I trusted you!” Rule number one, don’t trust any politicians.

What’s your most frequently played song in the van on tour?

“What I Want” by Cende or T-Pain’s “Booty T-mix.”

What’s the last thing you Googled?

Mannequin hands.

What album makes for the perfect gift?

Please Have A Seat by NNAMDÏ.

Where’s the weirdest place you’ve ever crashed while on tour?

Oh boy. I’ve slept in a lot of questionable places. I think maybe cramming into my sleeping bag on the kitchen floor of a one bedroom in Brooklyn with 6 other people with my head right next to the kitty litter and front door was a memorable one. I stayed at a house in DC where everyone was on mushrooms but me and I walked in on an orgy. This was my first ever tour. It was then when I knew, YUP… tour life is the life for me.

What’s the story behind your first or favorite tattoo?

I don’t have any tattoos. Maybe a tattoo that says that will be my first one.

What artists keep you from flipping the channel on the radio?

Thin Lizzy and OutKast.

What’s the nicest thing anyone has ever done for you?

I came home from tour and my friends surprised me with a party where we listened to songs they covered of mine. That sh*t was so cute.

What’s one piece of advice you’d go back in time to give to your 18-year-old self?

F*ck it all. Yolo. Be less scared. Fully embrace the weird side of your brain.

What’s the last show you went to?

I saw this band called The Vuloptuals at Coles bar in Chicago. It was sick.

What movie can you not resist watching when it’s on TV?

Mystery Men.

What’s one of your hidden talents?

I always know which drawer has the utensils in any kitchen.

Please Have A Seat is out 10/7 via Secretly Canadian/Sooper Records. Pre-order it here.