Randal suggests "It's My Time" instead, and Rebecca likes it, but Clay basically proves her above point despite himself, calling it "bragging," and basically meaning it's too rough and forward. Rebecca is too pushy with the whole thing, all, "Here's the thing, though: he's a guy. Toughness and attitude are okay." It's not so much Clay's gender v. Rebecca's gender, because this conversation makes these attributes non-gendered, and they're on opposite sides any way you look at it, but the gendered language they're using puts her in an untouchable place, and him in an awful place, and neither of them seem able to get above that to talk about the qualities themselves. Somehow -- without my help -- they move an inch forward, and Clay says something about how he's writing part of the song to be more about "in the end, it's all about me." Which gets the big pink gender roles elephant out of the room, but reroutes us to a concept even closer to Clay's heart and further from the group's concept.
Rebecca interviews that she and Randal "wanted" Clay because he's a creative thinker, which is true, even if he uses his power for evil, but is concerned that "over and over again" it's more about Clay saying, "No, this is wrong; no, this is wrong," and getting "so intent on his 'What About Me' idea" that he "can't play devil's advocate to it." True in more ways than you're saying, babe. She feels that he needs to be "more flexible in a team setting," because "when he's stubborn, he brings the rest of the team to a stalemate." And not to toot Rebecca's horn, but I'd like to point out that we haven't seen any of her kindergarten bossing from the first task when she was PM, and whether or not it's true, I'd like to think she learned a bit from that task, given that she's a lot less barky and ROTC in the footage we're seeing tonight. Clay pissily informs Rebecca that changing the song to "it's my time," it basically "screws everything" that he's been writing for the last forty minutes. Who knows if that's a legit concern, because I can see him being so hyper-focused on this concept, which is after all his theme song for life, that he'd nod and say "okay" and keep writing for forty minutes before noticing they'd changed the rules. ["Boo hoo, he was writing for forty whole minutes. Fuck off." -- Sars] Rebecca just stares at him beautifully like she might kill him.
Over at Excel, Levi Kreiss and Adam stare at each other and fall deeply in love. I've never seen the like. Levi tells them about the life of a musician, how sleeping on other musicians' couches and being no-account means living hard and building yourself as an artist. Adam heaves breathlessly and adorably, and cannot deal with any of this. The repressed part of his brain that screams constantly for sex points out that Levi is right now on a couch, but he cannot hear it. Felisha brainstorms that she wants the story of the song to be "about how you have nothing, and yet still that can be everything." Felisha remembers fondly how once Chico's didn't have the cowl-necked three-quarter-sleeve in mint, only charcoal grey, and how it totally taught her much wisdom about life. Then Dar Williams's entire back catalog comes in and shakes her like a Polaroid picture, and Laura Love's jailbird cats mount the attack, and even fuckin' Jewel is like, "Forty-five minutes of van life might help, lady."