#and maybe that Amanda ends up starting the Morris line way in the future or something idk

[lilydalexf]

Old School X is a project interviewing X-Files fanfic authors who were posting fic during the original run of the show. New interviews are posted every Tuesday.

Interview with Syntax6

Syntax6 has 17 stories at Gossamer, but you should visit her website for the complete collection of her fics and to see the cover art that comes with many of the stories (and to find her pro writing!). She's written some of the most beloved casefiles in the fandom. I've recced literally all of them here before. Twice. Big thanks to Syntax6 for doing this interview.

Does it surprise you that people are still interested in reading your X-Files fanfics and others that were posted during the original run of the show (1993-2002)?

I’m delighted but not surprised because I’ve written and read fanfic for shows even older than XF. Also, I joined the XF fandom relatively late, at the end of 1999, so there were already hundreds of “classic” fics out there, stories that were theoretically superseded or dated by canon developments that came after them, but which nonetheless remained compelling in their own right. That is the beauty of fanfic: it is inspired by its original creators but not bound by them. It’s a world of “what if” and each story gets to run in a new direction, irrespective of the canon and all the other stories spinning off in their own universes. In this way, fanfic becomes almost timeless.

What do you think of when you think about your X-Files fandom experience? What did you take away from it? What did you take away from your experience with X-Files fic or with the fandom in general?

(I feel these are similar, at least for me, so I will combine them here.)

First and foremost, I found friends. There was a table full of XF fanfic writers at my wedding. Bugs was my maid of honor. I still talk to someone from XF fandom pretty much every day. Lysandra, Maybe Amanda, Michelle Kiefer, bugs…these are just some of the people who’ve been part of my life for half my existence now. Sometimes I get to have dinner with Audrey Roget or Anjou or MCA. Deb Wells and Sarah Ellen Parsons are part of my pro fic beta team. I have a similar list from the Hunter fandom, terrific people who have enriched my life in numerous ways and I am honored to count as friends.

Second, I learned a lot about writing during my years in XF fandom. I grew up there. Part of this growth experience was simply due to practice. I wrote about 1.2 million words of XF fanfic, which is the equivalent of 15 novels. I made mistakes and learned from them. But another essential part of learning is absorbing different kinds of well-told tales, and XF had these in spades. Some stories were funny. Others were lyrical. Some were short pieces with nary a word wasted while others were sprawling epics that took you on an adventure. The neat thing about XF is that it has space for many different kinds of stories, from hard-core sci-fi to historical romance. You can watch other authors executing these varied pieces and learn from them. You can form critique groups and ask for betas and get direct feedback on how to improve. It’s collaborative and fun, and this can’t be underestimated, generally supportive. The underlying shared love of the original product means that everyone comes into your work predisposed to enjoy it. I am grateful for all the encouragement and the critiques I received over my years in fandom.

Finally, I think a valuable lesson for writers that you can find in fandom, but not in your local author critique group, is how to handle yourself when your work goes public. Not everyone is going to like your work and they will make sure you know it. Some people will like it maybe too much, to the point where they cross boundaries. Learning to disengage yourself from public reaction to your work is a difficult but crucial aspect of being a writer. You control the story. You can’t control reaction to it. It’s frustrating at first, perhaps, but in the end, it’s freeing.

Social media didn't really exist during the show's original run. How were you most involved with the X-Files online (atxc, message board, email mailing list, etc.)?

I participated in ATXC, the Haven message boards, and the Scullyfic mailing list/news group. For a number of years, I also ran a fic discussion group with bugs called The Why Incision.

What got you involved with X-Files fanfic?

I started reading XF fanfic before I began watching the show. I had watched one season two episode (Soft Light) and then seen bits and pieces of a few others from season four. I’d seen Fight the Future. Basically, I’d seen enough to know which one was Mulder and which one was Scully, and which one believed in aliens. An acquaintance linked me to a rec site for XF fanfic (Gertie’s, maybe?) so that I could see how fic was formatted for the web. I clicked a fic, I think it was one by Lydia Bower dealing with Scully’s cancer arc, and basically did not stop reading. Soon I was printing off 300K of fic to take home with me each night. I could not believe the level of talent in the fandom, and that there were so many excellent writers just giving away their works for free. I wanted to play in this sandbox, too, so I started renting the VHS tapes to catch up on old episodes (see, I am An Old). After a few months, I began writing my own stuff.

What was it that got you hooked on the X-Files as a show?

I had to be dragged kicking and screaming to The X-Files. I’m not a sci-fi person by nature. I think my main objection is that, when done poorly, it feels lazy to me. Who did the thing? A ghost! Maybe an alien? I guess we’ll never know. You can always just shrug and play some spooky music and the “truth will always be out there…” somewhere beyond the story in front of you. You never have to commit to any kind of truth because you can invent some magical power or new kind of alien to change the story. I think, by the bitter end, the XF had devolved into this kind of storytelling. The mytharc made no kind of sense even in its own universe. But for years the XF achieved the best aspects of sci-fi storytelling—narrative flexibility and an apotheosis of our current fears dressed up as a super entertaining yarn.

What eventually sold me on the XF as a show is all of the smart storytelling and the sheer amount of ideas contained within its run. At its best, it’s a brilliant show. You have mediations on good versus evil, the role of government in a free society, is there a God, are we alone in the universe, and what are the elements that make us who we are? If Mulder and Morris Fletcher switch bodies, how do we know it’s really “them”? The tonal shifts from week to week were clever and engaging. For Vince Gilligan, truth was always found in fellow human beings. For Darin Morgan, humans were the biggest monster of all. The show was big enough to contain both these premises, and indeed, was stronger for it. The deep questions, the character quirks, the unsolved mysteries and all that went unsaid in the Mulder-Scully relationship left so much room for fanfic writers to do their own work. As such, the fandom attracted and continues to attract both dabbling writers and those who are serious craftspeople. People who like the mystery and those who like the sci-fi angle. Scientists and true believers. Like the show, it’s big enough for all.

What is your relationship like now to X-Files fandom?

I look at it like an old friend I catch up with once in a while. We’ve been close for so long that there’s no awkwardness—we just get each other! I love seeing people post screen shots and commentary, and I think it’s wonderful that so many writers are still inventing new adventures for Mulder and Scully. That is how the characters live on, and indeed how any of us lives on, through the stories that others tell about us.

Were you involved with any fandoms after the X-Files? If so, what was it like compared to X-Files?

I ran the Hunter fandom for about five years, mostly because when I poked my head back in, I found the person in change was a bully who’d shut down everything due to her own waning interest. A person would try to start a topic for discussion, and she’d say, “We’ve already covered that.” Well, yes, in a 30-year-old show, there’s not a lot of new ground…

Most other shows, Hunter included, have smaller fandoms and thus don’t attract the depth of fan talent. I don’t just mean fanfic writers. I mean those who do visual art, fan vids, critiques, etc. The XF fandom has all these in droves, which makes it a rare and special place. But all fandoms have the particular joy of geeking out over favorite scenes and reveling in the meeting of shared minds. It will always look odd to those not contained within it, which brings me to the part of modern fandom I find somewhat uncomfortable…the creators are often in fan-space.

In Hunter, the female lead joins fan groups and participates. This is more common now in the age of social media, where writers, producers, actors, etc., are on the same platforms as the rest of us. Fan and creator interaction used to be highly circumscribed: fans wrote letters and maybe received a signed headshot in return. There were cons where show runners gave panels and took questions from the audience. You could stand in line to meet your favorite star. Now, you can @ your favorite star on Twitter, message her on Facebook or follow him on Instagram. In some ways, this is so fun! In other ways, it blurs in the lines in ways that make me uncomfortable. I think it’s rude, for example, if a fan were to go on a star’s social media and post fanfic there or say, “I thought the episode you wrote was terrible.” But what if it’s fan space and the actor is sitting right there, watching you? Is it rude to post fanfic in front of her, especially if she says it makes her uncomfortable? Is it mean to tell a writer his episode sucked right to his face?

Do you ever still watch The X-Files or think about Mulder and Scully?

I own the first seven seasons on DVD and will pull them out from time to time to rewatch old faves. I’ve shown a few episodes over the spring and summer to my ten-year-old daughter, and it’s been fun to see the series through her eyes. We’ve mostly opted for the comedic episodes because there’s enough going on in the real world to give her nightmares. Her favorite so far is Je Souhaite.

Do you ever still read X-Files fic? Fic in another fandom?

I don’t have much bandwidth to read fanfic these days. My job as a mystery/thriller author means I have to keep up with the market so I do most of my reading there right now. I also beta read for some pro-fic friends and betaing a novel will keep you busy.

Do you have any favorite X-Files fanfic stories or authors?

I read so much back in the day that this answer could go on for pages. Alas, it also hasn’t changed much over the past fifteen years because I haven’t read much since then. But, as we’re talking Golden Oldies today, here are a bunch:

All the Mulders, by Alloway I find this short story both hilarious and haunting. Scully embraces her power in the upside down post-apocalyptic world.

Strangers and the Strange Dead, by Kipler Taut prose and an intriguing 3rd party POV make this story a winner, and that’s before the kicker of an ending, which presaged 1013’s.

Cellphone, by Marasmus Talk about your killer twists! Also one of the cleverest titles coming or going.

Arizona Highways, by Fialka I think this is one of the best-crafted stories to come out of the XF. It’s majestic in scope, full of complex literary structure and theme, and yet the plot moves like a runaway freight train. Both the Mulder and Scully characterizations are handled with tender care.

So, We Kissed, by Alelou What I love about this one is how it grounds Mulder and Scully in the ordinary. Mulder’s terrible secret doesn’t involve a UFO or some CSM-conspiracy. Scully goes to therapy that actually looks like therapy. I guess what I’m saying is that I utterly believe this version of M & S in addition to just enjoying reading about them.

Sore Luck at the Luxor, by Anubis Hot, funny, atmospheric. What’s not to love?

Black Hole Season, by Penumbra Nobody does wordsmithing like Penumbra. I use her in arguments with professional writers when they try to tell me that adverbs and adjectives MUST GO. Just gorgeous, sly, insightful prose.

The Dreaming Sea, by Revely This one reads like a fairytale in all the best ways. Revely creates such loving, beautiful worlds for M & S to live in, and I wish they could stay there always.

Malus Genius, by Plausible Deniability and MaybeAmanda Funny and fun, with great original characters, a sly casefile and some clear-eyed musings on the perils of getting older. This one resonates more and more the older I get. ;)

Riding the Whirlpool, by Pufferdeux I look this one up periodically to prove to people that it exists. Scully gets off on a washing machine while Mulder helps. Yet it’s in character? And kinda works? This one has to be read to be believed.

Bone of Contention (part 1, part 2), by Michelle Kiefer and Kel People used to tell me all the time that casefiles are super easy to write while the poetic vignette is hard. Well, I can’t say which is harder but there much fewer well-done casefiles in the fandom than there are poetic vignettes. This is one of the great ones.

Antidote, by Rachel Howard A fic that manages to be both hot and cold as it imagines Mulder and Scully trying to stay alive in the frosty wilderness while a deadly virus is on the loose. This is an ooooold fic that holds up impressively well given everything that followed it!

Falling Down in Four Acts, by Anubis Anubis was actually a bunch of different writers sharing a single author name. This particular one paints an angry, vivid world for Our Heroes and their compatriots. There is no happy ending here, but I read this once and it stayed with me forever.

The Opposite of Impulse, by Maria Nicole A sweet slice of life on a sunny day. When I imagine a gentler universe for Mulder and Scully, this is the kind of place I’d put them.

What is your favorite of your own fics, X-Files and/or otherwise?

Bait and Switch is probably the most sophisticated and tightly plotted. It was late in my fanfic “career” and so it shows the benefits to all that learning. My favorite varies a lot, but I’ll say Universal Invariants because that one was nothing but fun.

Do you think you'll ever write another X-Files story? Or dust off and post an oldie that for whatever reason never made it online?

I never say never! I don’t have any oldies sitting around, though. Everything I wrote, I posted.

Do you still write fic now? Or other creative work?

I write casefiles…er, I mean mysteries, under my own name now, Joanna Schaffhausen. My main series with Reed and Ellery consists of a male-female crime solving team, so I get a little bit of my XF kick that way. Their first book, The Vanishing Season, started its life as an XF fanfic back in the day. I had to rewrite it from the ground up to get it published, but if you know both stories, you can spot the similarities.

Where do you get ideas for stories?

The answer any writer will tell you is “everywhere.” Ideas are cheap and they’re all around us—on the news, on the subway, in conversations with friends, from Twitter memes, on a walk through the woods. My mysteries are often rooted in true crime, often more than one of them.

Each idea is like a strand of colored thread, and you have to braid them together into a coherent story. This is the tricky part, determining which threads belong in which story. If the ideas enhance one another or if they just create an ugly tangent.

Mostly, though, stories begin by asking “what if?” What if Scully’s boyfriend Ethan had never been cut from the pilot? What if Scully had moved to Utah after Fight the Future? What if the Lone Gunmen financed their toys by writing a successful comic book starring a thinly veiled Mulder and Scully?

Growing up, I had a sweet old lady for a neighbor. Her name was Doris and she gave me coffee ice cream while we watched Wheel of Fortune together. Every time there was a snow storm, the snow melted in her backyard in a such way that suggested she had numerous bodies buried out there. How’s that for a “what if?”

What's the story behind your pen name?

I’ve had a few of them and honestly can’t tell you where they came from, it’s been so long ago. The “6” part of syntax6 is because I joke that 6 is my lucky number. In eighth grade, my algebra teacher would go around the room in order, asking each student their answer to the previous night’s homework problems. I realized quickly that I didn’t have to do all the problems, just the fifteenth one because my desk was 15th on her list. This worked well until the day she decided to call on kids in random order. When she got to me and asked me the answer to the problem I had not done, I just invented something on the spot. “Uh…six?”

Her: “You mean 0.6, don’t you?”

Me, nodding vigorously: “YES, I DO.”

Her: “Very good. Moving on…”

Do your friends and family know about your fic and, if so, what have been their reactions?

My close friends and family have always known, and reactions have varied from mild befuddlement to enthusiastic support. My father voted in the Spookies one year, and you can believe he read the nominated stories before casting his vote. I think the most common reaction was: Why are you doing this for free? Why aren’t you trying to be a paid writer?

Well, having done both now, I can tell you that each kind of writing brings its own rewards. Fanfic is freeing because there is no pressure to make money from it. You can take risks and try new things and not have to worry if it fits into your business plan.

(Posted by Lilydale on September 15, 2020)

[thesinglesjukebox]

THE HIGHWOMEN - REDESIGNING WOMEN

[5.30]

And yet they couldn't get Delta Burke to do a cameo in the video...

Joshua Lu: The Highwomen should, in theory, be a triumph for country music, at the very least because of the four amazing artists involved: Natalie Hemby (songwriter who's penned works for artists like Miranda Lambert, Kacey Musgraves and... Nelly Furtado?), Amanda Shires (singer/songwriter/violinist with six solo albums to her name), Brandi Carlile (responsible for one of the best albums of 2018 and for several other excellent ones) and Maren Morris (renowned hitmaker who recently sent "Girl" to #1 on the country airplay charts). Why, then, does "Redesigning Women" fail to muster the magic any one of the artists could deliver on her own? Vocally, the four of them blend together into each far too much; only Brandi's vocals ring distinctly, leaving the other three acting as part of her backdrop, including Maren, whose particularly potent pipes I shouldn't struggle to pinpoint. Lyrically, it's filled with signifiers for traditional vs. modern female roles, with requisite mentions of babies, the kitchen and hair dye, which make for evocative imagery but don't make for any meaningful message other than... that women's roles have evolved over time? It's too comfortable just describing the current state of affairs instead of demanding something more, and I'm left wondering what a listener is supposed to take away when the last guitar chord fades away. [4]

Michael Hong: The supergroup should involve a group of artists who know their strengths and weaknesses well enough that they're able to cover each other's weaknesses and emphasize their strengths in a way that wouldn't be possible as solo artists. The Pistol Annies worked so well on Interstate Gospel, not only because of the trio's harmonies, but also in the way that each artist brought something as a writer, like Monroe injecting some of her trademark dry humour into Lambert and Presley's wickedly smart small-town life observations. It comes as a confusing surprise then that across The Highwomen, less than half of all tracks are writing collaborations between the women, with Natalie Hemby being the sole member credited with writing their first outing. While Hemby has established herself as a great songwriter in Nashville, her strength was in the charming intimacy of her hushed vocals and finger-plucked guitar, but her own writing was hindered by her reliance on traditionalism that occasionally veered into cheesy nostalgia. "Redesigning Women" lacks the personal charm of Hemby's solo music and allows Hemby's penchant for cheesy traditionalism to seep through on awkward lines like "running the world while we're cleaning up the kitchen" and "changing our minds like we change our hair color." Confusingly, the track pushes this narrative where women have control, so long as they continue to provide in the more "traditional" gender roles. It makes for the track appearing to be a female empowerment anthem on first glance, but ending up being more outdated and restrictive, akin to Maren Morris's GIRL. Without the voices of Carlile, Morris, and Shires as writers, The Highwomen fall flat as a supergroup. While the four do sound pleasant across the track, pleasant just doesn't feel like enough on a track titled "Redesigning Women," which ultimately falls flat as another version of female empowerment written by the current Nashville songwriter du jour. [4]

Alex Clifton: In general feminist Americana/folk/country plays well with me, but where "Redesigning Women" gets really good is when all four women sing the title line. I hear so many older country superstars in their harmonies -- I could swear Dolly is in there singing along with them -- and it's a revelation. The lyrics are pretty good too, giving a light touch with lines like "breaking the jello mould" while still delivering a sincere message. The thing I have always liked about classic country is its strength, the confidence of the sliding guitars and banjos, how the singers sing out and loud, how even when there are quieter moments you still remain on solid ground. "Redesigning Women" does that while returning to an older sound that feels so rare these days, all the while making it fresh and glorious to hear. [8]

Alfred Soto: Shtickier and less distinctive than expected, "Redesigning Women" hews to a pattern -- a Jell-O mold? -- that acknowledges no middle ground between saints and surgeons; someone else, after all, a man, makes a woman a saint. It survives because Brandi Carlile, Maren Morris and Amanda Shires harmonize with the ease of women who understand how doing a job well is too often not reward enough. [6]

Jackie Powell: This song is an anthem and after my first listen, I didn't think I'd ever come to that conclusion. Country music for me is polarizing. But, each member of this quartet is Grammy-nominated in their own right and is enduring massive individual success. So why now for The Highwomen? "Redesigning Women" and the entire project coming from these four is selfless in nature. On CBS Morning before their debut at the Newport Folk Festival, Carlile referred to it as "a movement" rather than "a band." And the lyrical choices on this track are mostly consistent with that analysis. A goal is to inspire and that's admirable. Although I'll be frank, the first verse annoyed me; it reminded me of Girl Scout campfire songs. The chorus, however, is where The Highwomen shine. Each voice is heard, unlike the verses, and layered to provide a vocal texture that juxtaposes the nasal one you hear at the top of the song. I'm a sucker for alliteration and Hemby's serves as the best phrases in the entire song. But I don't love some of the female stereotypes referenced. Can we please move away from this idea that women almost always "need to look good," "clean the kitchen" or feel pressured to "feed the baby"? The Highwomen redeem themselves on the bridge which offers a call and response to a question that all who identify as female can relate to. Womanhood isn't black and white. There isn't a formula and if there is, then maybe you are doing it all wrong. The Highwomen have a broader audience than they think. I hope they take advantage of it as they continue to tell the stories of those who have redesigned and redefined their own womanhood. [6]

Joshua Copperman: The Highwomen have an interesting idea here -- "Running the world while we're cleaning up the kitchen" is clunky but appears to speculate that while gender roles are changing for women, men aren't meeting that change halfway. So you have podcasts asking if Women Can Have It All, and entire empires built on the Plight of the Working Woman -- in this song, the progress society has made (lol) indicates that "traditional women" take on all the responsibilities and nothing has gotten easier, let alone more equal. It's a thought-provoking message, but the rest is delivered in a surprisingly corny fashion from four women that, as far as I know, have either evaded or embraced corniness. This project could be a midpoint between Case/Lang/Veirs and Bridgers/Baker/Dacus, but the monotonous verses only bring to mind "Children of The Future" in their presentation and messaging. Maybe it's because up to this point, I've presented and lived in the world as a cis straight male (regardless of my actual orientation or gender identity). But no matter how I present myself, I know for a fact that all parties involved have done better, and this is deeply underwhelming. [4]

Iris Xie: A title like "Redesigning Women" begs something a lot more radical, maybe even jumping on the whole cyberpunk/anthropocene/post-apocalyptic aesthetic. But no, we get a song that is emblematic of conservative, tired, "choice" feminism. Why is buying 11 pairs of shoes considered moving progress forward? Why is a song about the fatigue in women's gender roles lacking so much anger? Why does this sonically sound like a swallowed deference? "Redesigning Women" upsets me, because it's like the time when I was a kid and asked older women if they've ever heard what feminism and seeing them wrinkle their noses at it and be offended at my question, and when I asked DC immigration lobbyists if they've ever experienced sexism or discrimination in their work and they stared at me because they didn't know how to answer the question. It made me feel so confused in those moments, and realizing how effective obfuscation is in separating and talking about the ways oppressive systems function, and how we ourselves can be extremely complicit in perpetuating them while also surviving them. "Redesigning Women" is meant as a touch-and-go balm as an acknowledgment of life's hardships, but without providing any solutions other than "let's make the best of it, you aren't the only one suffering," which is the only time that collectivism seems to raise its head in this individualist capitalist society, for the moment you start complaining, you aren't doing your part in your Dream. Bioessentialism and gender roles aside, this is a song that puts forth several arguments that The Highwomen and any other women just living their lives is redefining the roles of women. The imagery in "Making bank, shaking hands, driving 80 / Tryna get home just to feed the baby" is wonderfully succinct, and pretty much wraps up why life underneath capitalism absolutely sucks, whether you are or are not able to access that life. The rest of the examples -- such as "breaking every jello mold" and "When we love someone we take 'em to Heaven / And if the shoe fits, we're gonna buy 11" -- mix relatable, down-home metaphors with ones that wouldn't be out of place when it comes to simple desires to be a little too much, to be a little more ostentatious and a little less modest and "for the family!", where your every move as a woman is judged harshly. The bridge itself hearkens to a place of moral simplicity, with "How do we do it? How do we do it? / Making it up as we go along / How do we do it? How do we do it? / Half way right and half way wrong," that seems so innocent and very "we can do it!" But in reality, who is the target audience for this? It's for the women with families and jobs, and for those single femmes (like me!) who are conscientious of those future realities, who are all trying to keep these impossible lives and demands afloat in this disaster called late crisis capitalism. This is supposed to be soothing and reminds me that we're "all in this together," but it honestly kind of hurts to listen to this song. [5]

Katherine St Asaph: Designing Women is a relic of the '80s-'90s deadzone, and though it's getting rebooted and reconstituted, and was just rerun on Hulu (if you even knew), it is no longer a cultural touchstone, let alone enough of one to effectively snowclone. Jell-O molds reside in questionable '70s cookbooks and not modern kitchens, even in the South. Rosie the Riveter predates even the '50s. Nothing about this, from fusty lyrics to fustier vocals to women-are-fickle-but-good-fickle feminism, suggests it was written in the 21st century, let alone by "Country's Ballsiest New Supergroup." Who is this for? The kids are listening to Kacey Musgraves and Lil Nas X. The grownups are listening to country artists -- including some of the solo Highwomen, probably -- whose songs sound like they're inhabited by real people, not the speechwriters for corporate retreats. Industry folks are undoubtedly listening to this out of pent-up goodwill, which would be better directed toward commissioning repertoire that doesn't sound like it'd be dated in 1989. Extra point because at least it's responsible for the best thing Dierks Bentley has ever recorded. [2]

Stephen Eisermann: The idiot members of the Deplorable Choir have been all over my Twitter feed this week, so much so that I almost doubted if I ever wanted to listen to women of country collaborate for a track. I'm so pissed this song didn't show up immediately after I first saw that horrendous performance because this track, with its rich harmonies and empowering lyrics, elevates country music in a way that melts the iciness that has developed around my heart in recent years. These are the women that are leading and should continue to lead us into the future. [8]

Thomas Inskeep: Better in theory than in practice, mainly because the song's lyrics are just the slightest bit kitschy. But goddamn if Brandi Carlile, Natalie Hemby, Maren Morris, and Amanda Shires don't sound great together, and are given perfect country production by Dave Cobb. Even though I wish I liked "Redesigning Women" a little more, it still whets my appetite for their debut album, because I know there's even better to come. [6]

[Read, comment and vote on The Singles Jukebox]

[cutsliceddiced]

New top story from Time: The 10 Best Songs of 2019

2019 was a year of upheaval in the pop music world, with new voices rising to the fore through unexpected pathways. Lizzo’s career was jolted forward by a Netflix trailer; Lil Nas X rode TikTok and Twitter to the top of the charts. Stars emerged out of Brooklyn (Pop Smoke), Spain (Rosalía) and Nigeria (Burna Boy), expertly wielding social media and huge streaming numbers to captivate audiences across the world.

And as new voices claimed the spotlight, some of pop’s biggest names, from Charli XCX to Dua Lipa, continued to put out irresistible, vital earworms, as well. Here are TIME’s best songs of 2019.

10. “Crowded Table,” The Highwomen

The fact that The Highwomen even exists is impressive. The new supergroup brings together four of country music’s most prolific women: Maren Morris, a country-pop star with powerful vocals and mainstream hits like “The Middle”; Brandi Carlile, the Grammy-recognized folk artist whose work is marked by wry brilliance; Amanda Shires, a notable fiddler and country mainstay; and Natalie Hemby, the heavy-hitting songwriter who’s been the secret weapon for artists like Kacey Musgraves, Miranda Lambert and Lady Gaga on A Star Is Born. That all four found the time to make an album together speaks to their commitment to claiming space for women’s voices in a historically patriarchal industry. And that their music—as exemplified by the beautiful ballad “Crowded Table”—weaves in political statements only adds a layer of richness. “I want a house with a crowded table,” they insist, “and a place by the fire for everyone / Let us take on the world while we’re young and able, and bring us back together when the day is done.” The line works as a mission statement for these four distinct artists: make great music and complicate our definitions of womanhood, motherhood and femininity in the process. They make that statement over an unabashedly pretty melody, going in and out of duets and harmonies with seamless, generous sweetness. (Bruner)

9. “Simmer,” Mahalia ft. Burna Boy

Ever since going viral for a Colors Studios performance in 2017, the British singer Mahalia has enjoyed a steady rise, scoring hits including “I Wish I Missed My Ex” and the Ella Mai-assisted “What You Did.” On “Simmer,” she repurposes the burbling bassline of the 1997 dancehall classic “Who Am I” by Beenie Man, using it to anchor a love story in which a relationship verges on boiling over. A sultry and irrepressible appearance from the Nigerian singer Burna Boy, one of the year’s breakout stars, turns the song from a B-side into a global summer anthem. (Chow)

8. “So Hot You’re Hurting My Feelings,” Caroline Polachek

Caroline Polachek has long worked on the fringes of the mainstream pop world: she fronted the indie pop band Chairlift for a decade and racked up songwriting credits for Beyoncé, Solange, Charli XCX and Travis Scott. But she takes center stage on this year’s Pang, her major label debut album with Sony. The best of the bunch is “So Hot You’re Hurting My Feelings,” a cheekily named song propelled by handclaps and strutting muted guitars. But while the song sounds readymade for a night out, it drips with lovesick anxiety: “I cry on the dancefloor, it’s so embarrassing,” Polachek confesses. The music video—in which she skips and spins in cowboy boots across a barren, hellish landscape—perfectly reflects the song’s paradoxically carefree potency. (Chow)

7. “Too Much,” Carly Rae Jepsen

Carly Rae Jepsen has built a cult following on the power of her brand of pure, heart-on-your-sleeve pop. (Her widely-praised third album was even nakedly called Emotion.) “Too Much” synthesizes everything that makes the Canadian artist, best known for her 2012 earworm “Call Me Maybe,” beloved. It’s got relatable, on-the-nose lyrics; a commitment to catchy, sweet melodies; all sung with Jepsen’s intimately breathy vocals. Most of all, “Too Much” feels intensely honest. “When I feel it, then I feel it too much / I’ll do anything to get the rush,” she sings, then turns it around: “Is this too much?” Her ability to swing from wild joy to insecurity—all over a shimmering dance tune that’s as infectious as anything she’s produced—is a triumph. (Bruner)

6. “Crime Pays,” Freddie Gibbs & Madlib

Bandana, the widely acclaimed album from rapper Freddie Gibbs and producer Madlib, was forged in trying circumstances: Gibbs says he wrote most of the record in an Austrian jail while awaiting his eventual acquittal from sexual assault charges. Given this initial disconnect between the pair, it’s astonishing how perfectly Gibbs’ gravelly rhymes coalesce with Madlib’s sun-bleached soul production. “Crime Pays,” in particular, perfectly toes the line between their aesthetic sensibilities: Madlib unearths a pristine sample from jazz fusion artist Walt Barr that conjures both nostalgia and unlimited possibility, while Gibbs confronts the darker realities of chasing the American dream: “Diamonds in my chain, yeah, I slang but I’m still a slave / Twisted in the system, just a number listed on the page.” (Chow)

5. “Don’t Start Now,” Dua Lipa

On her 2017 debut album, Britain’s Dua Lipa established herself as a honey-voiced rising star of mainstream pop. On “Don’t Start Now,” the debut single off her sophomore project, she proves she has something to add to the conversation. And that something is a propulsive, infectious disco sensibility. Made with juicy synths, bubbly percussion and bouncy vocal twists, it’s a tune that celebrates independence and promises joy in the process. Lipa made her name on the cheeky breakup empowerment hit “New Rules”; “Don’t Start Now” follows in that breezy, forward-thinking tradition. “Though it took some time to survive you,” she sings, “I’m better on the other side.” It’s the sound of a new pop era. (Bruner)

4. “Juice,” Lizzo

Lizzo’s “Juice” is a funk-soul self-love dance anthem built to inspire confidence. That’s no fluke; her long-gestating career as a singer, songwriter and flutist has taken off this year thanks to her commitment to the goal of making listeners find assurance in her feel-good, fun-loving lyrics and danceable beats. She kicks things off by turning a fairy tale trope into an affirmation: “Mirror, mirror on the wall, don’t say it, ’cause I know I’m cute,” and ends the song with a bold giggle. With a retro-sounding melody that resonates across generational tastes, the song has already become a dancefloor mainstay. “Juice” sounds like it was perfected in a test kitchen, equal parts joy, cheeky lyricism and timeless appeal. (Bruner)

3. “Welcome to the Party,” Pop Smoke

While mainstream rap is still dominated by trap—the crawling subgenre from Atlanta—artists have also been looking north and taking elements from drill, Chicago’s much faster and frenetic style. “Welcome to the Party,” which was inescapable in Brooklyn this summer and fall, manically races forward, with the 20-year-old rapper’s syllables spilling out in terrifying, clipped bursts. Pop Smoke growls both his threats and boasts in unruly, unpredictable clusters—but even more jarring is producer 808Melo’s bassline, which seems to bubble out of the deepest recesses of the American psyche. (Chow)

2. “Con Altura,” Rosalía x J Balvin

“Con Altura” is a record-breaking collaboration between two Spanish-speaking artists with distinct backgrounds but powerful influences: Spain��s Rosalía is making a name for herself with flamenco-inflected alt-pop on works like her Grammy-nominated, poetically inspired second album El Mal Querer, while J Balvin reigns as one of Latin America’s reggaeton kings and one of the most popular artists on the planet, thanks to his international chart-toppers like “Mi Gente” and “I Like It.” Together on “Con Altura,” they found a sweet spot that mixes a number of musical traditions, from dembow to hip-hop to reggaeton, while still flexing their individual powers. Over spare, specific percussion, Rosalía’s voice rings out with lilting, sing-song precision; Balvin provides a balancing, stable counterpoint. The combination is potent and haunting, hinting at the diversity of Latin music and the creative future it is inevitably heading toward. (Bruner)

1. “Old Town Road,” Lil Nas X

“Old Town Road” contains many opposing truths. It’s both underdog and behemoth; eye-rollingly trivial and slyly progressive; radio-ready hit and oddball meme. This summer, it was both a distraction and the thing you couldn’t escape.

And it was this shapeshifting ability that made “Old Town Road” the ideal cultural artifact for 2019, in its endlessly iterative and argumentative nature. Whether people went online to criticize it, dance to it or remix it, everyone interacted with it some way, continuously pouring fuel as it set record after record.

And as Lil Nas X added to the fire by releasing a stream of remixes, the song became less a single record and more a fluid canvas for transgression. Each new version ruptured a new boundary or norm—whether it was Billy Ray Cyrus singing about his Maserati or BTS member RM delivering bilingual wordplay. Once scorned as outsider—both to Nashville and the music industry at large—Lil Nas himself became the gatekeeper, and then opened the door as wide as possible for everyone else. (Chow)

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