Emily Osment, 10.03.1992

Jordan

Los Angeles

скрыт или не указан

скрыт или не указан

скрыт или не указан

скрыт или не указан

скрыт или не указан

singer, actress

Ill try not to be cliché when I say music is one of the most important things in my life. I listen to it, create it, and apply it to everything I do. Now I can officially share it with you. My Myspace page is the only place where you can see what I'm up to, read my blogs, learn more about me and my music. I want to give a special thanks to everyone who inspired me, especially my favorite bands, who's music is sometimes the only thing that gets me through the day: Radiohead, Incubus, Air, Beck, and John Lennon. Without my Mom and Dad, my brother, and my friends I would not be here writing this. I hope in some way I can inspire you the way these people have inspired me.

Miley Cyrus, Taylor Swift.... and much more)))

скрыты или не указаны

скрыты или не указаны

скрыты или не указаны

скрыты или не указаны

“Rhythm take me down/Blow it up inside the sound/When it gets a hold of me/I’m the place you wanna be.” “Get Yer Yah-Yahs Out” Best-known for playing Lilly Truscott on Disney Channel’s Emmy-nominated Hannah Montana and Gerti Giggles in the Spy Kids movie sequels, Emily Osment has actually been making music almost as long as she’s been acting. And even though she’s just 18, don’t expect disposable Top 40 teen-pop on her Wind-up Records debut, Fight or Flight, produced by U.K. auteur Nellee Hooper, whose credits include Gwen Stefani and No Doubt, U2, Bjork, Madonna, Massive Attack and Soul II Soul. Writing with such well-respected tunesmiths as Grammy winners Adam Schlesinger [Katy Perry, Jonas Brothers, Stephen Colbert] and Toby Gad [Fergie, Beyonce, Brandy, Jordin Sparks, Alicia Keys] as well as David Gamson [Ke$ha, Adam Lambert, Chaka Khan, Scritti Politti], Osment’s album bow combines her classic rock influences into a mature-beyond-her-years blend of state-of-the-art electro/Europop (as on the first single, “Lovesick” and the feisty “Double Talk”), alternative/indie (“Let’s Be Friends,” “Gotta Believe in Something”), sophisticated, jazzy torch ballads (“Marisol” and “You Get Me Through”) and even rapping over hip-hop beats (“1-800 Clap Your Hands [The Water is Rising]).” An accomplished musician, whose mom first taught her to play guitar, Osment wrote most of the songs on Fight or Flight in recording studios in New York and L.A., before turning the tracks over for Hooper to work on in London (where they communicated on Skype), then finishing them up together back in the States. “It was nerve-wracking, terrible and wonderful all at the same time,” she says of working with Hooper. “I’ve been a fan of his forever. I even have a Massive Attack ringtone on my phone. He’s pretty intimidating, aside from his tiger tattoo, but he ended up being so easy to work with. We really meshed.” The album’s title, Fight or Flight, reflects Emily’s own lofty ambitions to fight through personal anxieties to achieve simultaneous success in two very competitive fields. “It’s about that chemical reaction in your head when you’re faced with fear,” she says. “You have a choice to fight that or run away. Working on this album, I had so many decisions along the way about whether to take on a particular battle or not. I was so involved in every single process of this record, and the songs are so related to my own life.” The songs are filled with references to her own favorite groups, whether the nod to White Stripes’ “Seven Nation Army” in “1-800 Clap Your Hands [The Water is Rising],” which she wrote on a plane flight about having the faith to keep it together when it all looks like it’s coming apart, or the dance-floor pulse of “Get Yer Yah-Yah’s Out,” a tribute to the Rolling Stones’ 1969 live album of the same name, with its call for one and all to party. “I don’t want to write songs that are just surface-deep,” explains Emily, whose own favorites growing up included listening to Led Zeppelin, the Beatles, the Monkees, the Doors and Herman’s Hermits, as well as modern groups like The Pixies and Massive Attack. “I want songs that, the more you listen, the more you figure out what I’m talking about. I love putting secrets like that on the record.” Songs like “All The Boys Want” (co-written with frequent collaborator Matt Bair) and “Double Talk” show her feisty side. “I get that from my mother,” she laughs. “We were in such a crazy, weird mood in the studio.” There’s a more serious side to Osment represented on a pair of ballads she co-wrote with Schlesinger, including the dark-edged “Marisol,” about which she says: “That could be me or you or anyone else. I want the listener to step into another world and become a different person.” “You Get Me Through,” one of the first songs she wrote for the album, is about her mom. “She cried when she heard it,” admits Emily. “She definite

скрыты или не указаны

скрыто или не указано

скрыто или не указано

скрыто или не указано

скрыто или не указано

скрыто или не указано