You Give Love A Bad Name //JENLISA

23| 2Fouls on Fire

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"You gon'make me bring the bad girl, believe me." - Bebe Rexha

(You're gonna make me bring up the bad girl, believe me)

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                          JENNIE
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| walked into the hotel exhausted, not even bothering to turn on the lights. | threw myself haphazardly on the couch and closed my eyes, feeling my body thankful for the small relief granted by the softness of that piece of furniture.

| was in New York, and | had finished recording the first part of the SOLO video. Two days earlier | had signed the five-year contract with RCA, subject to renewal at the end of it. Peter Edge asked if | wanted to release the song along with the video, or if | wanted to release the song alone.

If | chose the second option, in less than a week SOLO would be on the air. But | wanted the full service, and since he offered to create the video - which by the way was already scripted by RCA's formidable creative team - | took it. We made it as far as possible, and thanks to sponsorship with the Manoban Motor Company, | would be the first artist on the label to make the merchant for Lisa's father's company as agreed, using one of MMC's cars in the SOLO video.

| was excited, although very tired. Only the first part of the clip - recorded in a rustic mansion - had already taken me to the peak of exhaustion. | just imagined what it would be like when | was going to record the others. And there were many, in many different settings.

But it was amazing. The costume change, the makeup, the acting... | was literally living a dream. And my happiness was so immense that at that moment, nothing could shake me. Nothing.

Eyes closed and sunk into the couch, I smiled. | was nervous for the end result and even more nervous for the release of the video, but it was a really good kind of nervousness. The next day we were going to record another part of it, and that would go on for the rest of the week, until | was released to go back to Los Angeles and, only when everything was edited and ready, would | return to NY and be present with RCA at the release. the same.

The manager that Peter Edge assigned me, Steve Jackson, was already putting together a schedule with my commitments - which would be many -, for the promotion of the song. He promised that if everything went according to plan, in less than a month after the release the song would be a blast - because it was good and RCA had a good track record when it came to leveraging their artists’ careers in the Music Industry.

| had entered the boat, now | just had to let the wind take me.

In two hours | would have dinner with Jackson so he could know more about me and thus make all the outreach spots know my requirements in interviews and things like that. | was dumbfounded by all that, but it was nice to have someone who would take care of me and always look for the best for me in that environment where | was still sorely lost. And Jackson was kind of fastpaced and alittle scary, but he was also funny and understanding. And we've already started that partnership off on the right foot.

| lifted the phone to my eyes, forcing them to open.

It was eighteen thirty-two. It was starting to get dark outside, and it was getting cold too Unlike Los Angeles, New York had a pretty cold climate. | was sure that any moment snow would fall, given the color of the sky.

| looked for Lisa in contacts and dialed her number. She had asked me to call when | finished recording the first part of the video, to find out how it went.