Not The Babysitters Club. 

Not Adventures in Babysitting. 

Not My Babysitter’s a Vampire.

Not even Jonah Hill’s The Sitter.

The Netflix original The Babysitter is brand new, campy, absurd and perfect.

I must admit, when I heard Netflix was putting out a babysitting comedy, my gut reaction was they can do better. The babysitter trope has been stretched in so many directions the narrative has become stale by 2017. Netflix isn’t one to miss the mark, so I wondered how they would deliver with such a dated premise.

Much to my surprise– disbelief, honestly– The Babysitter was sick, ridiculous, irreverent fun. With a Friday the 13th release date, the odds were stacked in favor of Happy Death Day in major theaters; even the Friday the 13th franchise had more promotion on streaming services than this Netflix underdog. After watching, though, the Friday the 13th (of October, no less) premier of The Babysitter fit like a glove. McG’s electric slasher comedy emulated all the Halloween slumber party feelings I never knew I missed.

It’s Completely F*cked

I say this fondly: The Babysitter makes no sense at all. The McG production is a slapstick bloodbath, eager to celebrate immaturity and gore. The screenplay, written by Brian Duffield, could have easily been directed to a more satirical, dry wit comedic effort. But the satanic twist on the classic girl-next-door tale called for a much more epic, nonsensical endeavor. Everything from virgin sacrifice spin-the-bottle to egg yolk asphyxiation; The Babysitter is irrational and flaunts it. Think the animated humor of 21 Jump Street and the Wayans brothers with arterial spurts the likes of Jennifer’s Body and Zombieland.

Bella Thorne

I stand by my sentiment that Bella Thorne is this generation’s Lindsay Lohan. Cast as the airhead cheerleader of the cult, Thorne is likely the biggest star cast in The Babysitter. Director McG also produced the 2015 teen film The Duff, which similarly cast Bella Thorne as an archetypal bubblegum chick. The film’s horror conventions are met with equal parts teen comedy, chiding football jock intellect and popular girl bitchiness. Always on the lookout for a good old fashioned high school movie, I felt that channeling teen sensibility made The Babysitter more re-watchable among youth audiences. I am forever rooting for a pretty villain and Bella Thorne is the exact one I love to hate.

The 80’s References

If you want your work to be successful in 2017, take a hint from Stranger Things and the newest IT movie and refer to beloved films from the 80’s. The Babysitter wasn’t marketed as a throwback in any capacity, but undoubtedly borrows from 80’s classics both inside and outside of the horror genre.

Babysitter Bee, portrayed by Samara Weaving, is precisely the blonde bombshell every boy has been dreaming of for decades. Seriously, she’s a knockout. It’s exactly those blonde curls and All-American looks that harken back to Christie Brinkley-era beauty. The male gaze of 1980’s film can be spotted throughout.

The Fast Times at Ridgemont High nod, for example:

The film incorporates a recreation of the Risky Business POV scene; young Cole’s parents are leaving for the weekend and we famously see camera work that nods and follows his parents out of the house. Simple, and if you’re not too deep into pop culture you could miss it, but it served its purpose. Mimicking the spirit of coveted 80’s films is a nostalgic way to put a smile on any viewer’s face.

The Babysitter Has Heart

To reiterate: I had low expectations for this film. Mainstream comedies with predominantly white casts go as far as a few crude jokes and leave us unsatisfied. Even after I learned more about the film’s scary twist on classic babysitting stories, I doubted that I could relate to The Babysitter beyond mere curiosity as a horror fan.

Despite the routine character elements and outrageous slasher sequences, The Babysitter is surprisingly sweet. As I said before, Samara Weaving plays the perfect babe suited for a young boy’s fantasy. But Bee and Cole’s relationship went beyond a gushing one-ended crush; their friendship was well-developed and she seemed to give Cole confidence, which warranted his romantic feelings beyond Bee’s bodacious appearance.

The Babysitter is essentially a hero’s journey with an anti-bullying theme. Cole, timid and intelligent, survives multiple attacks from devilish idiots throughout the night. As we root for him, the underdog of his character slowly dissipates and results in a full-fledged bad ass. In babysitter stories of the past, the boy gets the dream girl. In 2017’s The Babysitter, the boy also rushes the dream girl with an airborne sports car.

This film hardly touches the iconography of Scream or Halloween, but was an uncovered gem in my Recommended queue the night of Friday the 13th. Especially if you least expect it, watch this film for an underrated merry bloodbath. The Babysitter may surprise you.

What did you think of The Babysitter? Leave a comment!

Introducing the *first ever* series here on the blog… the My Jawbreakers Director Challenge Series!

Let me explain: I’ve spent a lifetime building film literacy. 75% of my brain is movie facts and trivia. Each time you watch a film, you make judgements– I like that, this didn’t make sense, oh, that was pretty!– and those judgements are based on deliberate choices. Choices, I have come to learn, that are made by he or she who fills the role of director.

Observing films as robust and complete bodies of work helped me understand what film direction entails; often films are mere utterances molded into breathing art by the hard work of directors.

Countless directors of today have carved out a name for themselves, each presenting a catalogue of distinct successes, risks and storytelling. I’ve been wanting to kick my film fandom up a notch by committing to and examining the filmography of renowned directors the same way I would, say, binge watch Lindsay Lohan movies in one weekend.

By noting reoccurring patterns, motifs and ticks within directors’ portfolios, I hope to fully understand their authorship and/or vision in filmmaking. Some highly decorated and famous, some up-and-coming, and others in-between, I intend to examine the full filmography of directors of my choosing.

The Parameters:

1. Full consideration of a director’s filmography– that’s the challenge part. I have to watch all movies directed by proposed director to develop a sense for their work. This is done on Scout’s honor, of course.
2. To avoid discussion getting clunky, my analysis will be centered around these speaking points:
   • Magnum Opus— their overall greatest work.
   • Weakest Entry— the runt of the litter.
   • Icon— the film that captures the director in their stride.
   • Wild Card— a standout for alternative reasons.
   • Honorable Mention(s)
   • Screenplay— their best written work.
   • Muse(s)— actor(s)/actress(es) that weave themselves into the directors’ cinematic vision.
3. Wrapping up each challenge portion is two-fold:
   • Describing my experience watching the catalogue; the journey I went on and where it took me.
   • A final impression of the director’s work and style, to be capped off by the feat of encapsulating his/her filmography in 3 words.

The time-frame on this challenge is open and I’ll take any suggestions offered! Otherwise, challenge accepted.

Happy Valentine’s Day all lovers and loners! Romance films are the bread and butter of this month. Top off your February 14th with the perfect movie for your mood– all of these are better with chocolate.

If you’re in for a classic…

If you’re looking for sex…

(the nice stuff)

(the naughty stuff)

If you need to ugly-cry…

If you’re having a Galentine’s Day…

If you want romance AND music…

If V-Day is for the boys…

More contemporary options…

❤️💗❤️💗❤️💗❤️💗❤️💗❤️💗❤️💗❤️💗❤️💗❤️💗❤️💗❤️💗❤️

Remember: a Valentine is anyone who fills your heart with love. Celebrate somebody in your life that makes everything suck a little less, watch a movie and enjoy the adorable holiday. If not a single one of these films work for you, just take your bae to see Black Panther this weekend. Tell ’em I sent you.

Did I miss your favorite romance flick? Leave a comment!

There you have it, folks.

A stillness across the country everyone predicted, but no one prepared for. After 18 months that felt like centuries, a media circus with chaos comparable to a natural disaster,  Election Day was met with surprise, anguish and shock. Watching the news last night felt like waiting for a baby to be born. A historical, nation-changing baby. For nearly seven hours America followed along with crunching numbers and predictions. After everyone’s third cup of coffee or fourth glass of wine, the winner of the 2016 election was announced in the early hours of the morning. Donald J. Trump is set to be the 45th president of the United States of America.

I do not seek to share my qualms or concerns with you about this decision. Because, honestly, you can (and you will) find that everywhere today. What I make of Trump’s election is too scrambled to share in brief. This post is meant to honor the role of media in the 2016 election. Because believe it or not, I could guess that a good 60% any election is not political. “Political” referring to the direct acknowledgement of policy and government issues. It has been said that the fourth pillar of American government is the media. Elections, and any other event, really, incorporate media in such a way that strays from the traditional.

This election in particular made media an integral part of its lifespan. Perhaps it is because social and other mass media have reached their full capacities at this time. We as a nation reach to mass media for both guidance and our mark on the world.

I’ll never forget clutching my iPhone until 3 am, streaming NBC through YouTube, waiting anxious for an announcement to be made. Beforehand I was among friends scrolling endlessly through various feeds looking for updates. I was texting, FaceTiming, snapping photos– reveling in the thick of the democratic tradition. We are now conditioned to turn to media for our answers. Which is what made this election so particularly bamboozling. Essentially, it came down to a candidate supported by the media and a candidate that the media made.

I question what will become of the role of media as Trump’s presidency begins. During the campaign, NBC dropped the Miss Universe pageant because of its ties to Trump. Before he was elected his supported presence (even through others) was shamed in the media. How will nationalism change in the media now that he will be president? With a sour and rigid divide among citizens that is deeper than ever, I ponder how media’s relationship will proceed with the government.

Today is my 20th birthday! That feels bizarre to type and even more bizarre to admit to myself. When I was younger, up until like four years ago, I would hear about my favorite celebrities turning 20 and think to myself “I’ll never be that old”. 20 seemed so fresh and luxe. If you were 20 you probably had a credit card and were living your most wildest dreams.

And in a weird way, I sort of am. Not the credit card part. But reflecting on my two decades of life, I see who I’ve become and I like her. Possibly better than that, I respect her. I don’t feel 20 because I can’t really claim all the nuances it bears. The thing is, I’ve never felt completely connected with any age I have ever been.

In high school I desperately grasped at my surroundings trying to be the most 15-year-old 15-year-old there ever was (or 16 or 17 or 18). Blame it on Americana culture, but I felt so pressured to revel in a quintessential teen experience that doesn’t exist. Like most things, we put weird boxes around age that sort of manipulate our expectation. I was always too young to be taken seriously and growing up too fast at the same time.  I’m still chipping away at that.

Most people I talk to say your twenties are either irreplaceable or tragic. Come what may, I’ll embrace them as they unfold. I realized the more I let go of expectation about my age, I let go of expectation about my financial situation, my relationship status, my career path, my interests, my anxieties, my dreams. And I value that I learned that on my own.

Three hours into being 20, I’m watching DreamWorks’ Trolls on Netflix. There’s a birthday gift I bought myself sitting downstairs because I drove to Sephora in a manic rage when I found out my friends were busy on my birthday. I have to call the DMV in the morning. I ate the leftover half my Chipotle burrito bowl for lunch yesterday. I have a boyfriend that’s over the moon about me, but not as much as I am about him. I have trouble sleeping at night if I don’t take my allergy medication paired with melatonin supplements (like tonight). I wish some things were different. I hope some things stay exactly the same.

And right now, that’s 20 to me.

Personal blog posts like this are not to be expected. This is sort of interjectory. The goal of this blog is typically media and culture based discussion, because it is a genuine passion of mine. And if there was one resolution I had to make in this new year of my life, it would be to post more regularly. I have so much to say and I’m grateful for this small little platform. I actually started this blog about a year ago, so technically, happy birthday My Jawbreakers!

Was there ever a month weirder than November 2020?

After a presidential election that seemed to drag on for eons, the result of which lacking a traditional feeling of finality, this November feels like it doesn’t belong to itself. I barely finished flossing trick or treat candy from my teeth on Halloween night when it seemed the whole world switched to Christmas on a dime. In what felt like an instant, corporate America came knocking with its annual sales pitch for ribbons and bows. Yet in a year marred by the greatest health crisis of this generation, the upcoming holiday season can’t help but feel especially manufactured and devoid of the holly jolly.

After all, the harvest season is still vibrant with fall foliage, crisp afternoons and the sweatery vibes we all pined for in the summertime. When we hit the gas on Christmas, we blow by the last weeks of fall with disregard for the natural progression of the seasons. To me, November is a chillier extension of October’s spooky goodness.

And for that reason, though I may be in the minority, I want more Halloween. And due to circumstances created by the ever-bizarre COVID-19 pandemic, we may be getting more of it.

This Friday the 13th, director Christopher Landon’s new slasher comedy Freaky (2020) is set to hit theaters. In what looks to be a Happy Death Day rendition of the cult comedy The Hot Chick (2002), serial killer Vince Vaughan switches bodies with a female teenager. I couldn’t be more excited for a breath of goofy air in film at the moment, especially one that appears to hold up the weight of its ridiculous, hilarious premise. I imagine Freaky could have been a successful pre-Halloween release however, originally titled Freaky Friday the 13th, the film was intentionally set to release two weeks after the holiday.

Because we’re living in a time of postponement and cancellations, I see a mid-November release of Freaky with as much potential for success as timely Halloween run in theaters. The way we consume film and media has changed so drastically in a matter of months; the rules of celebrating seasonal holidays have also become arbitrary. Suddenly a Halloween movie weeks after the fact doesn’t seem so late to the party.

A great number of big-name releases saw delays this year. Films like A Quiet Place Part II and Jordan Peele’s reimagined Candyman were high on my list before Coronavirus put movie theaters in a miserable limbo with the latter of the projects stripped of an official release date completely. I imagine this trend will continue, leading to an odd period in the future where we will be consuming a lot of backlogged media.

This November might just be a home for some of those postponements (See: Hulu’s Run (2020), moved from Mother’s Day to the end of this month). If that’s the case, I don’t mind lingering in autumn for just a while longer. When I put my fork down at the Thanksgiving table, I might then consider shedding my Scrooge exterior for the winter. But as long as there are crunchy leaves beneath my feet, Halloween will remain my creepy coping mechanism for a year that feels full of Friday the 13ths.

Regular Christmas is stressful. Christmas 2020 is as about as exciting as another swab for COVID-19.

Call me the Grinch, but this year the constant advertising to overspend on gifts is making me particularly sour as the global pandemic rages. Many families won’t come together to celebrate the most wonderful time of the year with their loved ones. The whole season feels off, much like the other holidays we’ve all foregone in the past several months.

That said, comfort has been the name of the game in 2020. Binge-watching for some peace of mind has become second nature for everyone. In the coming week, when many of us will be getting those one or two much-needed days off from work or daily responsibilities, I’ll be choosing movies and TV that give those ~cozy vibes~ without overloading on Santa Claus. Here’s a list of movies that aren’t technically Christmas by genre, but do the trick for fireside nights with peppermint schnapps in hand.

The Wizard of Oz (1939)

This one has always been inexplicably Christmas-y to me. For whatever reason, the magic of Oz always seemed best enjoyed through the years next to a Christmas tree.

Harry Potter (2001-2011)

Take your pick of the eight-movie-long franchise to teleport you back to childhood. Particularly Christmas scenes from the first few films capture the *enchantment* of the season.

Frozen I & II

The perfect Christmas time children’s movies sans-Santa. Everyone loves Olaf.

Dumb and Dumber (1994)

A classic bonehead comedy that happens to take place in snowy Aspen, CO. Jim Carrey arguably wins the best ugly Christmas sweater in this one as the iconic Lloyd Christmas.

The Holiday (2006)

The perfect yule movie for a wine night “in” with girlfriends over Zoom. Sweet without being saccharine, The Holiday is several cuts above typical Hallmark fare while still capturing the romance of the special time of year.

Ghosts of Girlfriends Past (2009)

This ridiculous rom-com take on the Charles Dickens classic features pre-Oscar Matthew McConaughey as a bachelor visited by the loves of his past. Another fine contender for holiday girls night.

Prisoners (2013)

Welcome to the dark side of the list. In Prisoners, the holidays are the backdrop for a kidnapping and harrowing mystery starring Hugh Jackman.

The Lodge (2019)

Even darker, a “family” goes away for the winter to celebrate Christmas at a remote cabin. No spoilers— but there’s hardly anything holly-jolly about this film, as it’s perhaps one of the better horror flicks of last year.

Misery (1990)

A classic from Stephen King. Perfect for any time this winter, but suitable for any fellow Scrooges around Christmas.

Edward Scissorhands (1990)

Last but not least, Tim Burton’s romance-fantasy that includes a beautiful Christmas twist. This cult classic is a macabre fairytale fitting for a year as bizarre as the one we are wrapping up now.

Despite all the challenges and disasters of 2020, the holidays aren’t about what you’re watching on Christmas, it’s who you’re watching with. Enjoy, stay safe and have a merry Christmas and happy small-iday!

Have you ever been so blessed by a music video that it payed off your student loans, boosted your credit score and cleared your acne? Music videos are an often overlooked form of entertainment, but — when done right– have the capacity to elevate songs to their full artistic potential. This year, I have gotten my LIFE to some music videos that have been payed dust. Without any VMA’s nominations, or VEVO certifications, here are 10 underrated music videos you need to see today:

1. He Like That – Fifth Harmony

I’m a simple girl; I don’t ask for much. I like my music videos with choreography, sweaty male dancers and bossy attitude. Coming off of their VMA’s win for “Down”, Fifth Harmony released this dancehall inspired visual that is hot, hot, hot. Directed by James Larese, “He Like That” actually made my jaw drop.

2. Power – Little Mix

I stan Little Mix hard. “Power” sees guest appearances from drag queens Alaska 5000, Willam Belli, Courtney Act and the girls’ mums. Female director Hannah Lux Davis captures the groups’ bubbly, empowered personas one by one. The theming is delightful, poppy and electric. You’ll be singing this song all day.

3. Company – Tinashe

This– this— is how to direct a dance video. And as the kids say, Tinashe ate that choreography. “Company” is directed by Jack Begert and is, in a word, flawless.

4. New Rules – Dua Lipa

This song deserves to smash. Up-and-coming It-girl Dua Lipa released this track to remind females that he. isn’t. worth it! “New Rules”, directed by Henry Schofield, is everything you would expect a voguing BFF pool party to be.

5. So Good (feat. Ty Dolla $ign) – Zara Larsson

UK queen Zara Larsson literally shines in her video for “So Good”, directed by Sarah McColgan. True to Larsson’s lush aesthetic, “So Good” is glittery, pink and gorgeous.

6. Versace On The Floor – Bruno Mars

This video looks like the most expensive perfume ad of all time. Director Cameron Duddy  created this dream-like visual with Zendaya at center stage. Everything about this video is magical and expensive.

7. John Wayne – Lady Gaga

How is no one talking about this? Jonas Akerlund directed what many believe to be a sequel to Gaga’s “Judas”. In “John Wayne”, Gaga makes a return to her storyteller roots; complete with motorcycles, leather and glam rock.

8. Love Galore (feat. Travis Scott) – SZA

I love a good murderous twist. This eerie and delicate piece, directed by Nabil, is as smooth as Travis’ verse. SZA is in the process of making her come up and the “Love Galore” video is mesmerizing and twisted. A must watch.

9. LOYALTY. feat Rihanna – Kendrick Lamar

Kendrick Lamar has had a fantastic year with the release of DAMN. The “LOYALTY” video is only adding to his excellent body of work. Directed by Dave Meyers & the little homies, “LOYALTY” features the ever-radiant Rihanna in this Pulp Fiction, Suicide Squad, and Inception inspired epic.

10. Boys – Charli XCX

This music video is essentially the (◕‿◕✿) emoticon in visual form. “Boys” is directed by Charli XCX herself and Sarah McColgan. This song is all about the fuzzy feelings the opposite sex can bring on, and the many cameos of beloved male celebrities is enough to give anyone watching the same googly-eyed bliss.

FX on Hulu is treading lightly with the new miniseries, A Teacher.

The show, which premiered three episodes Tuesday, follows an illicit relationship between a high school English teacher and her student.

Seemingly ripped from any number of tabloid headlines in the last two decades, the premise of A Teacher is not particularly new or inventive. I’m afraid there isn’t an area code this issue hasn’t touched, leading to regular appearances of teacher-student relationships in film, television and pop culture.

The difference this time is not the story itself, rather in the way A Teacher is framed. Before each episode, a content warning title card advises of depictions of sexual situations and grooming. As far as I know, official FCC content descriptors do not include “G” for grooming under a TV-MA rating, which leads me to believe the series is well aware of its responsibility in messaging.

Actress Kate Mara, who depicts teacher Claire Wilson, shared clips on her personal Instagram feed in promotion of the first round of episodes to premiere. In one caption, she described the series as a tale about “an abuse of power and its consequences.”

Refreshingly, there is nothing sexy about this accurate description of the series’ subject matter. Unlike late night Lifetime originals, which bank on forbidden desire and steamy melodrama, A Teacher frames child grooming for what it is: abuse.

Definitively, grooming is when “someone builds a relationship, trust and emotional connection with a child or young person so they can manipulate, exploit and abuse them,” according to the National Society for the Prevention of Cruelty to Children.

Mrs. Wilson’s prey in A Teacher is high school senior, Eric. Over the first few episodes, Eric’s character is underscored by his overall goodhearted nature. Behind tomfoolery with his jock buddies or a racing sexual imagination is a young boy with loyalty to his struggling family and high hopes for his future.

Where A Teacher gets realistic is Mrs. Wilson’s preying on these qualities. Here, the grooming is subtle, as it too often is in real-life experiences. Something as simple as an unsupervised car ride can be a power play by a predator to isolate and control. Private meetings and social media connections forge unbalanced trust between the two; young Eric is soon set up to be confused and manipulated. I anticipate this dynamic will become more twisted as the series progresses and the student-teacher relationship becomes more physical.

A Teacher sets up Claire’s actions as a predator to be explained but certainly not excused. Unsatisfied with her life thus far, Mrs. Wilson seeks excitement by acting on her intrusive thoughts. Yet not much is redeeming about Claire’s character. Rather, the good in Eric is very obviously eclipsed by her selfish, inappropriate advances.

Out in the real world, it’s an adult’s responsibility to enforce boundaries that children and minors may not yet understand. Anything less runs the risk of predation. The more we define and normalize these rules, the safer we can keep the young and vulnerable.

I leave A Teacher episodes feeling icky; unable to shake the sense of how crushing exploitation can be on innocence. Perhaps, to the show’s credit, viewers are supposed to be left on edge about what they saw on screen. Predatory and abusive behavior may very well look harmless at surface level, but as we see, it can be devastating instantly. A second title card concludes each episode, urging anyone “struggling” to utilize a resource website listed for survivors. Enforcing a direct, non-romanticized framework, A Teacher may end up more than a cautionary tale; it is a call to be proactive against abusers.

Lately I’ve been doing some spiritual repurposing; closing out my day with prayer, incorporating more gratitude into my interactions and generally trying to be more aware  of my footing in life.

And, as promised in the Good Book, it’s working out in my favor. Even if faith isn’t your thing, a moment or two of daily reflection can really anchor the chaos of the day-to-day. I’ve made an effort to invite more love and light into my spirit and, corny or not, it feels really, really good.

I can say with certainty that I have lived a charmed life. Obviously I’ve gone through the negative– nobody hasn’t– but all in all I see the steady and abundant blessings in my life as baffling. I’ve never been hungry, never fell to any sort of serious health problem, never laid my head to rest at night cold or completely alone. Beyond that, I just have so much. Friends, loved ones, experiences, possessions, opportunities, successes; if I were to write it all down, any reader would conclude I never have a reason to frown.

So why is it I am still so deeply insecure?

It’s my firm belief that talent is a God-given attribute. Even though it has been a long, convoluted self-dialogue in discovering it, there is a reason I don’t want to be a doctor or a lawyer or an athlete or a scientist. I was meant to be an artist, I was meant to create. After all that’s what I love to do. Writing, directing, media making– it all fills me to the brim with a joy that feels so distinctly me.

Yet, without fail, before I begin any creative venture, I am shackled by crippling self doubt. And I am sure, outwardly, this confession seems humble coming from a girl whose beach waves are never out of place. But the insecurity I speak of isn’t sporadic or mild or even shakable.

It’s hiding in bathrooms with pounding, anxious heartburn before events. It’s crying into the morning about my future as a creative. It’s the blaring red message FAILURE before I hit enter on a new blog article, submit a job application, or save a new screenplay. I constantly feel that anything I do will never be good enough.

It took ages to realize it, but these terrible, cruel thoughts about myself are my own personal forbidden fruits. That panic and that fear, albeit convincing, are simply not the truth. In fact, they are pure evil. And evil is giving me the simple option of not believing in myself; to take the easy way out and deny the richness of my abilities.

Mere explanation truly doesn’t shape the experience properly. The only real advice I am able to give is this: you have to walk through life like you’re the shit. There have been times I felt like the most worthless person in the room, wishing I could disintegrate into the floorboards. But running and hiding is not a feasible option forever.

You have to stand up straight and find it within yourself, even if you have to scrape. Be courageous enough to stare that venomous beast in the eyes and deny it any power over your mind. Art is passion expressed; often as vulnerable as ripping your heart out of your own chest. It’s scary to share those parts with the world, but it’s the same passion that can protect you from insecurity.

Fake confidence as much as you need until you have unwavering belief in your work– your music, your blog, your novel, your portfolio– who you are as an artist.

When asked his advice for aspiring musicians, Kendrick Lamar shared a very simple message at the Grammy’s Red Carpet last year: “Put God first and put the work in.” I think about that mantra almost every day. Do your best and have faith in your best. It’s your purpose. The rest is just noise.