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The bassist Emily Elhaj, who plays on “Big Time,” has known Olsen since around 2007, and they’ve been recording together for about a decade. “She was, like, ‘I’m just here.’ ” Though she had considered postponing the sessions, delays at a vinyl-pressing plant and other scheduling concerns led Olsen to submit to the immediacy of the experience.
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But I’ve had to do all this other shit that’s just been so fucking heavy,’ ” Wilson told me. “She got here, and said something to the effect of, ‘In the past, I would have had these songs prepped, and I would have been practicing them. Olsen arrived in California to record without having rehearsed with her band. “I’m so tired of saying I’m tired,” she sings. On “This Is How It Works,” a new song, Olsen sounds worn out, deflated. But what does it symbolically mean when these things keep happening?” she wondered. “It’s so easy to go to that place where you’re romanticizing-Woe is me. These days, Olsen doesn’t have much interest in anyone who has not at least briefly locked eyes with the void.
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“It was the first time I walked into a studio and I knew everybody there had endured hard shit and come out with a sense of humor.” “Everyone in this crew has a story,” she said.
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“There’s a creek in the winter that’s full up, and a painting studio, and this old bar.” She had chosen Wilson’s studio in part because she recognized something in him and in the musicians who congregate there. “Everything’s made of wood,” Olsen said, nodding. I told her that it reminded me of pictures and paintings I’d seen of Joni Mitchell’s home in nearby Laurel Canyon, a fantasy of woodsy bohemian glamour: unruly ferns in terra-cotta pots, colored glass, open windows, a distinguished house cat lounging on a Moroccan rug. The studio compound was green, rustic, and artfully unkempt. On her phone, Olsen showed me a few photographs of the scene. Olsen began recording it at Fivestar Studios, in Topanga, California, with the producer Jonathan Wilson, a few weeks after her mother’s funeral. It is in part a chronicle of her grief, though it’s also a document of self-actualization, heartbreak, isolation, and the intoxication of new love. “Big Time,” Olsen’s sixth studio album, will be released in June. Ever since, Olsen has been sifting through the material and psychological aftermath. In 2021, her adoptive mother and father died two months apart (her mother, from heart failure, at age seventy-eight her father, in his sleep, at eighty-nine), shortly after she realized and told them she was gay. Olsen, who was adopted when she was three years old, has spent much of the past two years figuring out what to hold on to and what to surrender. Some promised footage of significant events-“Angel’s Graduation,” “Angel’s First Day of Preschool”-and others were labelled “ THE POKEMON” and “ WORLD PREMIERE DARK HORIZON.” After pulling up at a video-restoration shop, Olsen did some hasty sorting in the parking lot, trying to decide which tapes were worth dusting off with a tissue and which ones she could toss. Olsen, who is thirty-five, had recently excavated them from her childhood home, in St. On a rainy afternoon in mid-April, the singer and songwriter Angel Olsen steered a Subaru through Asheville, North Carolina, while a cardboard box of VHS tapes clattered in the back seat. This content can also be viewed on the site it originates from.