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On our last tour, before live music came to a screeching halt, I was able to meet up with my former manager Dave in Los Angeles after our set.
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She told me that coming out in high school was incredibly traumatic for her, and that since then she’s felt this lasting sensation that she’s more susceptible to the evils of the world praying on her weaknesses like sharks prey on the wounded. In 2009, I met this person while working at a gay bar/nightclub in Boston.
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But it was also the first night I stood up to her and stood up for myself. Without getting into too much detail, this song is about my not-so-fantastic relationship with my mother, and more specifically about a particular night of fear, physical abuse, and running away. I think deep down we must have loved the drama of it all. But no matter how painful each experience was, we somehow couldn't help ourselves. We both knew it was bound for disaster, that it was destined to fail. You know that feeling when you know the weather forecast calls for rain later in the day, but for some reason you still leave the house without an umbrella? That’s what my 15-year on-again/off-again relationship was like. I looked him up and almost reached out, but instead I just wrote this song. I wondered what kind of person he became. I hadn’t thought about him in years until lockdown. I think I attribute this as one of the main reasons why I denied my truth for so long. The bullying was cliché-lunches stolen, being thrown into garbage cans, belittled on the regular-“f*g” became a nickname of sorts. Looking back, it almost seems like a Lifetime movie. Like a lot of “weird” kids, I was bullied a lot in middle school. I never met her, but in the end I didn’t need to: I was known. As everyone left, I heard that Corrina had shown up just as the backyard was being ignited. He brought out the biggest comforter he had and smothered the flames in his underwear. At this point it seemed like everything was on fire.
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In a panic, a friend tried to put it out by throwing a bucket of water onto it, which only spread the gas across the yard. By the time I knew what was happening there was a wall of flames head high. As it inevitably traveled up the fuel stream, this surprised guest dropped the whole can into the fire. A guest (who I’m guessing never heard the phrase “Don’t pour gas on an open flame”) poured gas on an open flame. But still no Corrina.Īt some point in the evening, someone found the can of gas we kept on the side of the house. I made sure the atmosphere was perfect: music, libations, and a small fire. Invited everyone who would hear me with whispers that Corrina would “probably” show up…and to my surprise, it worked. I was far from being one of the popular kids, so I figured if I threw an epic party, and somehow she showed up, maybe I could change my social standing. When I heard about the new “super cool” girl transferring to our middle school from Colina-a school in the Valley-I was just as excited as everyone to see what all the fuss was about. Listen to With People, and read the story behind each song below. With People is disarmingly honest and playful, allowing for impactful memories to take on a life of their own in song. Later, they let us in on a fractured long-term relationship, bullies from his childhood, and the passing of his beloved dog. What seems like a subtly psychedelic fever dream is actually Fleming's horrific-yet humorous-reality. Built on top of operatic layers of folk-rock that recall acoustic takes on Marc Bolan or Queen, these 10 tracks pull characters and scenes from Fleming's past with both color and tenderness.Īt its most extravagant, With People relies on spacey synth arrangements and seductive Western guitars to conjure a mysterious girl from Fleming's middle school days and a house party that erupts in flames on "Corrina From Colina." "Corrina can't you see / The unfortunate evening show," Fleming sings in a luscious croon. For musician Shaun Fleming, who releases music as Diane Coffee, that time for introspection resulted in their fourth album With People being their most personal yet. For many, the pandemic enforced personal reflection unable to retreat outside, an excavation of the past was often a therapeutic way to pass the time.