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PREMIERE: “CASTLE IN THE CLOUDS” BY GIULIA MILLANTA
Featured Image of Giulia Millanta By Barbara FG There are a handful of tried-and-true words we use when talking about music. Introspective, reflective, and musing quickly come to mind. Usually these words are paired with ominous, brooding, or melancholy. One might think that artists remain in a constant inconsolable funk. However, music, much like life, is often about perspective. Instead of miring in a depressive world, self-evaluation with an upside of hope is a clear theme for Florence born, Austin based singer/songwriter Giulia Millanta’s upcoming (October 16) seventh solo album Tomorrow Is A Bird. Each song brings new emotional exploration of the human existence and a confidence that life can and will be better.
On her latest single, “Castle In The Clouds,” Millanta challenges us to be inspired. Like an anthem in optimism, the song dares us to take that first–possibly wild–step away from what’s holding us back and toward the visions in our hearts.
“Come on, do something crazy!” Sharing her purpose behind the song, Millanta encourages us all: “Walk down the street, run, follow the sound of your feet…it’s never too late to be child-like and live an extraordinary life. Or you can keep doing the same things over and over, day in day out and feel uninspired. The choice is yours”
Millanta’s message benefits from her powerful, never-forced voice that carries a tone of ingrained resolve. As the song builds, her vocals get a boost of dramatic flare as you can feel determination building. The instrumentation pairs wonderfully as it grows from a steady guitar riff and drum beat to a swell of strings and choir-like background vocals.
Without further ado, Mother Church Pew proudly presents “Castle In The Clouds” from Giulia Millanta. You can listen to the song on the SoundCloud below. You can also pre-order the album Tomorrow is A Bird as well as her soon to be published book, Between the Strings, here.
You can also watch the lighthearted music video for “Castle In The Clouds:
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OFF THE STAGE: SECRET EMCHY SOCIETY
For this edition of Off The Stage, we catch up with Cindy Emch of Secret Emchy Society.
Mother Church Pew’s Off The Stage is a series that celebrates a band’s path to where they are and the things they do behind the scenes to stay there.
For most casual fans of music, the forty-five minutes that a band spends on the stage is all they can see. However, when the guitar cases are closed and the venue’s floor is littered with empty beer cans and trash, most bands load their gear into the van and return back to their normal lives.
Mother Church Pew’s Off The Stage is a series that celebrates a band’s path to where they are and the things they do behind the scenes to stay there.
From Cindy Emch:
A year ago today I was just back from tour for a ten-day run at home before hitting the road again. Two years ago today I was heading to the YYJ airport in Victoria, BC to fly home from a run of shows on the Northern Gulf Islands off of Vancouver Island in British Columbia. And so it goes from the social media memories. Early May for as long as I can look back has been a time of being on the road, exploring new places, and playing new songs. This year it’s all different. For all of us.
In mid-March a combination of a blizzard closing Interstate 80 plus increasing concerns about COVID19 grounded my last tour, the rowdy adventures with touring Canadians, and the final batch of in-person live shows until who knows when. With an album release looming from two months away, I drove home from our band meeting at a diner in Grass Valley, California listening to way too much news about how bad things were about to get. I landed back home in Oakland at ~5pm, and by 5pm the next day, downpour notwithstanding I had the beginnings of my own little Victory Garden, a batch of homemade bread cooling on the counter, and Meyer Lemon Marmalade (with lemons harvested from our tree) in the Insta-Pot trucking along. The barter economy was arriving and I was all for it.
In the subsequent weeks, I’ve learned how much I’ve forgotten from the days of gardening with my mom back in Michigan. We never tried to grow greens, and California is a whole other climate than the green beans, berries, and corn I grew up with – and so it’s been a huge learning curve for kale, collards, and the broccoli forest I’m still hoping bears edible crowns at some point. Going from tours, dive bar shows, and winery busking to hands in the dirt yard work and day job overtime is a huge adjustment. Thankfully live shows from Acme radio, The Boot, The Nuncheon Sessions, and Carolyn Mark’s Virtual Hootenanny keep giving me reasons to art direct the living room, keep my fingers nimble, and throw at least a few songs down every week.
The 2 am band toasts for “YAY NEW RECORD” and album release shows planned have become 10 pm zoom rants about how me and my fellow musicians figure out what next, financially, artistically, socially, all of it.
When not yard farming, live streaming, album promoting, or day jobbing I find myself reading and rediscovering a love of tea and calmness. Something about less traffic, cleaner air, it’s letting me move slower, find more beauty, and take some time for peace… And a new kitten.
Because in the midst of singing ‘Dance Like the World is Ending’ for all of the folks that need to hear it – how could my wife and I ever resist the uncomplicated joy of rescue kitten number four? So now I spend my summer harvesting lettuce, sharing our new classic country / Bakersfield influenced album ‘The Chaser’ with the world, one way or another, and playing with Dino the kitten. Who could ask for anything more?
Connect with Secret Emchy Society:
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THE PEW PLAYLIST: NEW AMERICANA MUSIC FOR SEPTEMBER 9
This edition of the Pew Playlist almost feels like a competition: How many musical influences can come together in 5 songs? We’ve got touches of gospel, soul, folk rock, Nordicana, blues-country, and everything in between.
Without further ado, here is this week’s Pew Playlist presented in the order they were added to the list. Music is sorted for an enjoyable “mixtape” experience. But feel free to shuffle it up!
“TAKE ME IN” – THE WAR AND TREATY
Amazing harmonies are a given whenever you listen to a song by The War and Treaty. However, “Take Me In” may be the best use of the duo’s dynamic vocal power. A hymn-like gospel influence pairs with a striking piano melody on a song that will sound right at home echoing in the rafters of the Ryman.
photo by David McClister Website | Facebook | Twitter | Instagram | YouTube | Spotify
“MIDNIGHT BUS” – ANNIE DRESSNER
Gentle folk memories meet up with crisp electric guitar melodies on “Midnight Bus” from Annie Dressner. For the song, Dressner pairs with Matthew Caws of Nada Surf for a sound that would feel right at home on a playlist full of works from Phoebe Bridgers and Soccer Mommy.
Photo by Elly Lucas. Website | Facebook | Twitter | Instagram | YouTube | Spotify
“WINDOW” – ERIC BOLANDER
“Window” immediately grabs your attention with its creative use of orchestral strings to lead an up-tempo song. Later, you’ll take notice of Eric Bolander‘s vocal tone that draws an easy comparison to the slightly growly, bluesy sound of Chris Stapleton.
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“GEMINI” – THE NORTHERN BELLE
“Stevie Nicks-esque floating vocals from [Stine] Andreassen are met with darker electric guitar chords giving the song a psychedelic feeling at times. The song has a throwback folk-rock edge with a timeless quality.” Check out our full album review of We Wither, We Bloom from The Northern Belle that includes the single “Gemini.”
Photo Courtesy of Julia Marie Nagelstad Website | Facebook | Instagram | YouTube | Spotify
“LOVE AT YOUR CONVENIENCE” – THE GHOST OF PAUL REVERE
“Featuring raw, forcefully sung vocals, you feel like you’re watching the emotions of a breakup happen in real time.” Check out our full album review of Good At Losing Everything from The Ghost of Paul Revere which features the single, “Love At Your Convenience.”
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ALBUM REVIEW: THE NORTHERN BELLE — WE WITHER, WE BLOOM
Featured Image Courtesy of Julia Marie Nagelstad
Norwegian created, Nashville inspired: We Wither, We Bloom, is third studio album (first released internationally) from the Americana septet, The Northern Belle. Lead singer Stine Andreassen traveled from the band’s home in Norway to the Music City to write the album. The result is a record full of the flowing folk melodies we expect from the Nordicana scene, combined with just enough Nashville country influences and lyrical grit.
There are plenty of up-tempo tracks, such as the album’s opener, “Gemini.” Stevie Nicks-esque floating vocals from Andreassen are met with darker electric guitar chords giving the song a psychedelic feeling at times. The song has a throwback folk-rock edge with a timeless quality.
However, it’s in the album’s gentler, dreamier works that Andreassen’s vocals are best showcased. It was admittedly her voice that first turned my attention toward the group resulting in these tracks getting most of my plays.
“How Deep” and “Born To Be A Mother” are both ballads full of poignant charge thanks to the fine storytelling set to a captivating soundtrack. Another song well deserving of notice is “Lonely.” There’s a special quality to the way the song was recorded, making the vocals feel like they are projecting from a great emptiness.
Of course, it’s important to give credit to the music itself as well. The Northern Belle benefits from both the sheer size of the band and the way the pieces fit so well together as one sound. The entire album is lush with plenty of acoustic and electric guitar, pedal steel, and strings in the mix.
Time and time again, I am impressed with how international artists continue to influence the Americana scene, while little parts of Nashville continue to be part of the world’s music. On We Wither, We Bloom, The Northern Belle combine well-crafted folk-pop with classic country touches to make an album that is a true example of the great things that come from the Americana melting pot.
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ALBUM REVIEW: THE GHOST OF PAUL REVERE — GOOD AT LOSING EVERYTHING
There are two distinct paths for string bands. Some stay within the niche, usually adopting bluegrass influences, and do well with their specialized brand of folk music. Through the years, the Steep Canyon Rangers have stayed with their tried and true sound and have made a collection of fine albums. Others expand, both literally and figuratively. I’m reasonably sure the The Avett Brothers have an additional touring member every time I catch one of their concerts. The challenge on both paths is making something with a compelling twist yet remaining true to the energy that got you those first critical fans. On their latest album, Good At Losing Everything, The Ghost of Paul Revere embrace a bolder sound without losing the authentic folk flavor that we’ve all come to expect from the band.
There is a noticeable flow to the album. Each track plays into the next. Unlike the current trend of releasing 10 singles as “record,” you can tell that intent went into the construction of Good At Losing Everything. It’s meant to be enjoyed as a complete thought—perhaps as a long-distance listening party in these crazy times.
There’s also a distinct flow within each song. There’s always a current, sometimes a raging river of emotion, sometimes a bubbling brook of banjo melodies, and most often a steady stream of clap-along-worthy folk rhythms.
Good At Losing Everything kicks off with quick-hitting energy to catch your attention. The title track hits you with a bold drumbeat, a ripple of banjo, and sing-along enticing lyrics. It has that anthemic feel that endeared us to the breakthrough songs of The Strumbellas. Two tracks later, we get the album’s lead single, “Love At Your Own Convenience.” Featuring raw, forcefully sung vocals, you feel like you’re watching the emotions of a breakup happen in real time. Filed with cinematic piano and electric guitar, there is an aura of fury as the lyric, “I told you/I’m angry/and I ain’t coming back,” is repeated. However, embracing our human tendencies of conflicted emotions, the song ends with gentler acoustic guitar, as the lyrics change to, “I told you/I love you/and I ain’t coming back.” You feel the passion in the singer’s heart change to a chant, as if he’s struggling to maintain resolve. It’s these types of nuances that give the album depth.
While most of the record is a blend of folk, string band, and just good ol’ Americana, the band takes a few daring artistic leaps. Two stand out as being both completely different and for how well they were pulled off. “Travel On” is southern rock with a strong infusion of folk-funk. Later, “Dirigo” is a country-western crooner that gets a jolt of rock n’ roll ballad in the mix. In the vein of Roy Orbison, or more recently Orville Peck, resonating vocals make the minimal sound dramatic.
On Good at Losing Everything, The Ghost of Paul Revere clearly challenged the boundaries of how we expected them to sound. The album shows they are ready to take on all comers across the entirety of the diverse world of Americana. There’s still that vintage feel that wraps you in the blanket of tradition, but a modern evolution that encompasses so many of the sounds we love.
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THE PEW PLAYLIST: NEW AMERICANA MUSIC AUGUST 24, 2020
The Pew Playlist is now at full strength! That means there’s 50 new and recent Americana songs ready for you. Going forward I’ll rotate 5 off the list each week and add 5 new ones to keep it fresh.
The playlist also continues to gain followers. If you like the list, please share it with your friends. More than anything, sharing the list helps the artists.
Without further ado, here is this week’s Pew Playlist presented in the order they were added to the list. Music is sorted for an enjoyable “mixtape” experience. But feel free to shuffle it up!
“NEXT TO MINE” – ZACH CORNELL
“Next To Mine” will immediately connect with all of us that grew up on classic 80’s country. With an a cappella opening, relatable lyrics, and cozy harmonies, it instantly reminds you of offerings from Alabama, Shenandoah, and Vince Gill. However, the rambling banjo gives it a rustic authenticity those artists lacked, while Zach Cornell‘s deep, twangy voice has a way of making this love song feel like it’s coming straight from the heart.
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“NO ONE TO SAVE YOU” – GARRETT OWEN
Usually the word raw is used to describe songs that are stripped down, vocals almost breaking from emotional strain. On “No One To Save You,” Garrett Owen reminds us that a musically pure track can carry a ton of feeling. Mournful electric guitar sets the mood, while Owen’s vocal inflection has just the right edge of emptiness to make this classic country style ballad a raw reflection on a relationship coming to a close.
Photo Credit: Melissa Laree Cunningham Website | Facebook | Twitter | Instagram | YouTube | Spotify
“A LITTLE MORE LOVE” – RON POPE (FT. VON GREY)
There are few constants in the music scene, but one certainty is the depth of introspection that Ron Pope puts into each of his songs. A keen self-awareness allows Pope to explore his inner-self, while his gift for writing lets him share his reflections in a profound way. While Pope’s aching vocals tell his struggle to find a love that feels like ‘enough,’ the gentle support from Von Grey give it a tender warmth that makes you feel like everything will be okay.
https://youtu.be/2KLuX0jz7F8Website | Facebook | Twitter | Instagram | YouTube | Spotify
“BIRDS OF A FEATHER” – SHIRA
Self-described “fairy-folk” singer-songwriter Shira gives us a dreamy soundscape on “Birds of Feather.” The song starts minimal, with gentle acoustic guitar, before building to a grand orchestral background. As the music swells, so does the power of Shira’s vocals, as she displays her impressive range.
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“LINES OF LOVE” – WAITING FOR SMITH
Some songs just put you in a better mood and “Lines of Love” from Waiting for Smith is definitely one of them. An optimistic message, an uptempo melody filled with lively acoustic guitar and tambourine, and a soothing vocal delivery make this folk song fun.
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“THE OFFERING” – XANTHE ALEXIS
From our recent Mother Church Pew album review: “The Offering,” is reminiscent of the country songs I grew up on, as electric guitar twang meets on-point harmonies.
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“EXPECTATION RUNS” – THOMAS CSORBA
Well-crafted lyrics can carry a song a long way. However, it’s Thomas Csorba’s vocals that make “Expectation Runs” a prime example of story-telling Americana. Csorba has a gift for pulling just the right emotion from each word.
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“STRONGER” – FREEDOM FRY
I’ll admit the band name Freedom Fry gave me a bit of a pause. A quick perusal of their bio explains that it comes from the duo being half American and half French. In “Stronger,” the husband/wife combo display a delightful chemistry on harmonies, while banjo, acoustic guitar, and a lively drum rhythm make the song an upbeat toe-tapper.
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“LONELY HEART OF MINE” – NED HILL
Hitting on the roots-rocking side of Americana, Ned Hill gives us a jukebox-anthem with “Lonely Heart of Mine.” A classic country undercurrent of electric guitar and loneliness-filled lyrics is boosted by the addition of piano, organ, and fiddle.
Photo By Scott Willis Website | Facebook | Twitter | Instagram | YouTube | Spotify
“THE RECKONING” – FRONT COUNTRY
Your first listen will have you thinking this song must be about the current COVID-19 crisis. It may come as a surprise that “The Reckoning” by Front Country was written more than a year before the outbreak. However, metaphorical lyrics about a sickness (the need for widespread societal change) take on new significance with all the challenges and changes of 2020. A powerful vocal delivery of the impassioned words is the star of the song while the accompaniment of strings and banjo make for a wonderful supporting cast.
Photo By Kaitlyn Raitz Website | Facebook | Twitter | Instagram | YouTube | Spotify
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ALBUM REVIEW: XANTHE ALEXIS — THE OFFERING
The Offering from singer/songwriter Xanthe Alexis could be described as two albums in one. Not in the disjointed way we hear some albums transition between styles, but rather a progression of the story, feelings, and sound.
As a trauma therapist and activist, Alexis has a firm connection with the challenges of humanity. However, in her songs, there is always a mysterious, other worldly influence. That likely comes from Alexis embracing what her bio calls, “the mysticism of her Greek, French, and Native American roots.” Together, we get an album that that’s connected to the present, yet explorational.
The first three tracks ring of the pure folk and classic country sounds that are often associated with Americana. Conor Bourgal’s production makes each song’s message shine, with “Sullen One” standing out as a showcase of his added touches. The song progresses from gentle acoustic guitar, to a powerful piano-led melody, and ends with electric guitar and drums. The musical transitions enhance the strength behind Alexis’s tender lyrical exploration of her experiences as a healer. The album’s title track, “The Offering,” is reminiscent of the country songs I grew up on, as electric guitar twang meets on-point harmonies. In “The Heart Needs Time,” Alexis sings with vulnerable emotion while the music matches the raw essence of the song. Thankfully, nothing was done to soften the mood on this one. Alexis’s true feelings come through as clearly as when she put the words to paper.
As the album progresses, it turns to a different, more modern take on Americana and folk. The first sign of change comes as we switch to “Compass,” a song that tiptoes on the edges of indie pop and retro new wave. However, “Siren” is the one that truly drives home the difference. I will note that it’s usually clear what song I think stands out in my album reviews. Listening to The Offering the first time, I was sure it would be the title track…until I heard “Siren.” Then I was in conflict. Lyrically compelling and sonically distinct, the song has you holding your breath, utterly compelled. Impassioned vocals call for social reckoning while the song dances to an undercurrent of ominous bass and constant drum beat. The orchestral splashes and tom fills make it even richer. I decided to embrace the fact that this album explores enough musical real estate to have two highlights contrasting the beginning and the end of the musical journey.
With powerful vocals set within a wide musical landscape, The Offering explores heartache and faces the uncertainty of a changing world. Xanthe Alexis reflects on these challenges, but with empathy, she instills a feeling of hope on the horizon.
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THE PEW PLAYLIST: NEW AMERICANA MUSIC FOR AUGUST 17, 2020
Yes, normally the Pew Playlist comes out on Fridays. However, this week we’ve got our list of new music coming your way just in time to help you get through the work week.
Without further ado, here is this week’s Pew Playlist presented in the order they were added to the list. Music is sorted for an enjoyable “mixtape” experience. But feel free to shuffle it up!
“WALKING ON A WIRE” – THE IMAGINARIES
With their third single, “Walking on a Wire,” husband and wife duo The Imaginaries once again prove they’re going to be a force to reckon with in the Americana scene. Brilliant harmonies meld as the pair reflect on the struggle of dealing with missed opportunities while holding on to optimism for the future. Driving home the duality of the song’s theme, the electric guitar and piano melodies shift between ominous and joyous, playing perfectly with the pair’s vocal nuances.
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“SOMETIMES” – A JAY WADE
The blog doesn’t get a lot of submissions that contain the words “western crooner” and those that we do are not usually serious works. However, it only takes a few seconds listening to A. Jay Wade‘s version of Adolph Hofner’s “Sometimes” to realize it’s a song that demands you take notice. With gentle harmonies, a nostalgic shuffle in its rhythm, and a hearty helping of guitar, fiddle, and jangling piano, the song embraces everything that makes old-school country-western great.
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“PAPER BOAT” – IMOGEN CLARK
With “Paper Boat,” Australian artist Imogen Clark serves up a break up song that refuses to wallow in its sorrow. Singing lyrics that could be mired in sadness instead are sung with a powerful confidence and firm resolve. Even when the song builds and the minimal drum beat gives way to a lush electric-guitar filled musical landscape, the vocals remain front and center, giving Clark’s words more intensity.
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“THE 99” – TWO BIRD STONE (ft. SARAH SISKIND & KENNY VAUGHAN)
Traditional instrumentation, contemplative lyrics, and an honest, folksy sound; all of the elements of classic Americana are present on “The 99” from Two Bird Stone. The wonderful interplay between the leading banjo and responding fiddle are what truly make the song standout.
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“HORSES IN THE SKY” – KRIS DELMHORST
Kris Delmhort looks for hope in hopelessness in her latest single, “Horses in the Sky.” The song does an amazing job of using little things–such as the flourishes of harp and the well placed touches of electric guitar–to keep it delightfully minimal, yet deeply expressive.
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“HOMESICK” – NICK KINGSWELL
Reflecting on the feelings his move from Australia to the UK inspired, Nick Kingswell brings us one of the most distinctive sounds of the year on “Homesick.” The interplay between Kingswell’s pure vocal expression and the feverish rhythm instantly capture your attention. Once the song gathers its full strength, Kingswell’s flush of emotion is wonderfully accented by dynamic electric guitar and fierce violin, giving the song a bold, epic feel.
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“TREEHOUSE” – LAURA MUSTARD
Pure escapism takes musical form on Laura Mustard‘s buoyant, summery “Treehouse.” You can check out our full Mother Church Pew Premiere for the music video for “Treehouse.”
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“SWITCH” – SERA
Folk music gets an energy jolt on the latest single “Switch” by Welsh singer-songwriter SERA. You can also check out the Mother Church Pew Album Review of SERA’s new record, When I Wake Up.
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“OLD HABITS” – JENNY O.
Jenny O. takes us on an introspective journey as she ponders the challenges of life. Thanks to its use of organ to lead the song’s musical glow, “Old Habits” has a deep, restless aura.
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“EVELYN” – DAVID STONE
A gentle acoustic guitar melody leads David Stone‘s ode of adoration for his newborn daughter. The honest, emotional inflection in both lyrics and the vocals are what make “Evelyn” connect with just about anyone.
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ALBUM REVIEW: SERA — WHEN I WAKE UP
Magic, folklore, and mysterious worlds are brought to life on Welsh singer-songwriter SERA’s latest album, When I Wake Up. Pulling from a variety of influences, SERA challenges the pervasive concept that folk and Americana artists have to live in a perpetual melancholic funk or, in the alternative, reel out a slew of toe-tapping country jams. Instead, When I Wake Up always has something unexpected around each corner. Tempo changes abound while lead instruments trade off between songs to keep the listener’s attention throughout.
The gem of the album is its most recent single, “Switch.” The song’s pulse raising tempo, dynamic vocals, and bold electric guitar gave it enough rock edge that it was featured in our indie/alternative music blog’s playlist when it was released a few weeks ago. The song packs a power that translates across genres.
Also fast paced, the fiddle led “The Door” is another standout, not just for its anthemic grandeur, but for the full display of SERA’s soaring vocals. The song has an undeniably epic feel from beginning to end.
While the up-tempo tracks are what grabs your initial attention, it’s the slower works like “Old School” that show SERA’s true range. As electronic and acoustic guitars trade licks to form the melody, the lyrics share a classic love song. Drawing a reminder to folk country ballads of the 70’s and 80’s, you could easily imagine people slow dancing to it at a proper honky-tonk in Nashville.
Sometimes we need a reminder that not all the roots in roots music are planted in American soil—folk music has a world influence and When I Wake Up demonstrates that with sonic majesty.
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VIDEO PREMIERE: “TREEHOUSE” BY LAURA MUSTARD
Memories of carefree days, summer sunlight, and the wonders of young love. With refreshing innocence, Laura Mustard’s new music video for her latest single, “Treehouse” lets you escape to a simpler world—or simply a world viewed with a childlike delight that we can all embrace.
A story of friendship and love grows before our eyes, blossoming from the characters of the video’s young actors. “Working with the kids at the tree house on set was the best part of this project!” Mustard shares. “Brayden [Huffmaster] and Lauren [Biddle] were troopers to hang out on a hot July afternoon.” The tale is set to a breezy melody full of traditional folk elements including banjo, harmonica, mandolin, and fiddle. As the story grows, so does the music, yet it never overpowers Mustard’s inviting vocals or the laid back vibe of the song.
Set at an actual tree house in Flintstone, GA, you can’t help but want to escape to the comfort of the rustic setting. The vision of the video was brought to life thanks to the combination of Mustard’s own dream of living in a tree house and her collaboration with producer Matt Hoots. You will immediately notice how well the video and song blend together as a single piece of art. Perhaps that’s due to Mustard’s excitement and hands-on work for the project. As Mustard details, the video was something new for her:
“This was my first time making a professional music video and being a part of my own video shoot. I got to work with a videographer/director, hire actors, and find, book, and film a location, so this video also represents a lot of ‘firsts’ for me. It was a real learning experience, and I had a blast coordinating all of it…from my first meeting with Matt, the director, over coffee, to filming at the tree house with lots of bug spray, to reviewing the edits on my couch. It’s wonderful to have the finished product after all that, and I’m thrilled to finally be releasing it out into the world!”
The official video for Laura Mustard’s “Treehouse” will be released tomorrow, August 13, 2020, but Mother Church Pew’s readers can watch it now. Grab some bug spray, a cold glass of lemonade, and a person to hold hands with, and check it out below:
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