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bananaofswifts · 2 years ago

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7/10 - Written by Kelsey Barnes

When Speak Now was released back in 2010 without any co-writers, Swift used it as a message to critics and naysayers alike who doubted whether she actually contributed in writer’s rooms during Fearless.

Her 2008, third body of work, which was Swift’s first to sell over 1 million copies in a week, was produced by her longtime collaborator Nathan Chapman and danced between the country and pop genres.

If Fearless was Swift charting her own coming-of-age story, Speak Now was her making sense of her growing fame and the increased media interest in her personal life. With the third re-recorded release after Fearless (Taylor’s Version) and Red (Taylor’s Version), the biggest shift is Swift’s vocals. The country twang heard on songs like “Mine” and “Mean” has faded, but unlike what she sings on “Speak Now” (“I stand up with shaky hands, all eyes on me”), Swift and her voice are stronger and more assured than ever.

Reclaiming her work means Swift must revisit the events and experiences that brought her joy, inflicted pain, and every other emotion in between. But unlike the original versions of “Dear John” and “Last Kiss,” the breathy and defeated vocals have faded — in its place is a Swift completely at peace with the things she’s been subjected to. Better yet, she sounds like she’s at her full power.

Although the original album was a snapshot of what was happening to her in 2010, Speak Now (Taylor’s Version) is a snapshot of who she was and what she was listening to at that time. Two of the vault tracks feature pop punk and emo-leaning groups Fall Out Boy and Hayley Williams of Paramore who are featured on "Electric Touch”' and "Castles Crumbling" respectively. On “Electric Touch” there’s a punchy juxtaposition of Swift’s vocals with those of FOB lead singer Patrick Stump as they play off one another, whereas on “Castles Crumbling”, a song about grappling with falling from grace, it sounds more in line with Williams’ solo work rather than the work of Paramore. Although “Castles Crumbling” may not be the powerhouse pop-rock anthem Swemos were expecting, it’s as if its the prequel to Swift’s collab with Phoebe Bridgers on Red (Taylor’s Version): a story about growing up as teens in the public eye.

Similar to “Dorothea” on evermore, “When Emma Falls in Love,” one of the album’s other vault tracks, is a song written for one of Swift’s friends. The track, presumably about actress Emma Stone who became friends with Swift shortly before the release of “Speak Now”, is a piano-driven song in the perspective of Swift watching her friend fall in love. With lyrics like “Little does he know his whole world is about to change” and “Little Miss Sunshine always thinks it's going to rain” teeter on slightly naive storytelling, it’s a song that is quintessentially Speak Now.

Since its release, “Better Than Revenge” has been celebrated, criticised, and then found its own place in the zeitgeist as a slightly problematic but equally beloved track. Despite the original’s anti-feminist sentiments (“She’s better known for the things that she does on the mattress”), Swift decided – much to the irritation of fans – to adapt the lyrics to “He was a moth to a flame / she was holding the matches.” Back in 2014, Swift said to The Guardian that she was 18 at the time of writing the track and her perspective was incorrect. Although this change clearly is Swift’s response to how her perspective has grown, attempting to rewrite history does a disservice to actually honouring who she was at that time – flaws and all – during the writing of the original Speak Now.

Despite that blemish, Speak Now (Taylor’s Version) is a cathartic release of pent-up frustrations of things she never had the confidence to say at 19 that are now stated proudly at 33. Almost prophetically, much of what she sings has already come true. She does live in a big city, shining like fireworks regardless of who has hurt her publicly, as referenced in “Innocent” and “Mean”, or privately as alluded to on “Dear John” and “Better Than Revenge.”

What hasn’t changed, though, is the message prevalent in “Long Live,” a song dedicated to her fans. The reclaimed version is even more formidable, a sonic snapshot of the artist she was when she first wrote it with the experience and growth of the artist she is today. The Swift of 2010 couldn’t foresee the number of walls she’d have to break through or the amount of dragons she’d have to slay in the 13 years that followed. But if Speak Now (Taylor’s Version) represents just one thing, it’s that her fans will be there to support her as she reclaims her work, truly living the lyrics “Long live all the magic we made [...] One day, we will be remembered."

#tyalor swift #speak now tv #review

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sanktor1 · 3 months ago

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Connie Perignon: A Captivating Star Redefining Sensual Artistry

Connie Perignon is not just a name; it is a symbol of boldness, elegance, and unfiltered passion. As an artist who has taken the world of adult films by storm, her videos showcase a mesmerizing blend of beauty, confidence, and unapologetic expression. Every frame featuring Connie is an invitation to delve deeper into the world of sensual storytelling, where art and allure meet to create an unforgettable experience.

What sets Connie apart is her distinctive ability to exude charm and authenticity. She is a master of her craft, capable of captivating her audience with more than just her stunning physical presence. Her expressive eyes and infectious smile often draw viewers in before the intensity of her performances keeps them entranced. Connie’s artistry goes beyond the visual; it’s in the way she embodies confidence, owning every scene and transforming it into a masterpiece of human connection.

One of the remarkable aspects of connie perignon videos is the way they embrace raw emotion and vulnerability. Her performances are not simply about physicality but about creating a narrative that resonates. Connie has an uncanny ability to connect with her audience, making every interaction feel personal and genuine. This authenticity has endeared her to fans around the globe, who appreciate her unique approach to adult entertainment.

Beyond her on-screen allure, Connie’s aesthetic is both modern and timeless. She carries herself with a sophistication that makes her performances feel elevated, blurring the line between mainstream art and adult content. Her distinctive style combines a sense of mystery with an openness that invites curiosity. Whether it’s the choice of wardrobe, her confident demeanor, or the chemistry she shares with her co-stars, every detail is thoughtfully crafted to create a captivating experience.

Connie Perignon’s body of work stands out for its dedication to quality and creativity. Each video is a testament to her commitment to pushing boundaries and exploring the nuances of human desire. The lighting, cinematography, and storytelling in her films often feel like an homage to classic art forms, yet they remain daringly contemporary. This duality is part of what makes Connie such a compelling figure in her field.

Her hayley davies nudes also celebrate diversity and inclusivity, reflecting a progressive approach to adult entertainment. Connie’s performances are a reminder that beauty and sensuality come in many forms, and her willingness to challenge conventional standards has made her an icon for those seeking representation. She celebrates individuality, empowering her audience to embrace their own uniqueness.

What truly elevates Connie’s work is her passion for self-expression. She uses her platform to explore themes of empowerment, self-discovery, and liberation. Her art is not just about aesthetics; it’s about breaking taboos and encouraging open dialogue about intimacy and human connection. Through her performances, Connie challenges societal norms, encouraging viewers to celebrate their desires without shame.

For many fans, Connie Perignon is more than an entertainer; she is a muse. Her ability to inspire creativity and provoke thought has cemented her place in the hearts of her admirers. She is a reminder that adult content can be more than just provocative; it can be meaningful, artistic, and profoundly human.

As she continues to create, Connie Perignon remains a beacon of confidence and creativity. Her videos are a celebration of life’s most intimate moments, captured with a grace and authenticity that leave a lasting impression. Whether you are a longtime fan or discovering her for the first time, Connie’s work promises an experience that is as captivating as it is unforgettable.

In a world where art and entertainment often collide, Connie Perignon has carved out a space that is uniquely her own. She stands as a testament to the power of individuality and the beauty of fearless self-expression, making her one of the most intriguing and influential figures in her industry today.

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theswiftiearchive · 1 year ago

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Speak Now (Taylor’s Version) - Electric Touch (Taylor’s Version) [From The Vault] [feat. Fall Out Boy]

"Electric Touch" is a pop-punk anthem that dives headfirst into the turbulent depths of first-date jitters. Taylor Swift captures the restless anxieties, unyielding pessimism, and relentless self-doubt that plague our hearts when faced with the prospect of romantic exploration. How did this song come to be with Fall Out Boy in attendance?

Though Fall Out Boy are credited as featured artists, lead vocalist Patrick Stump is the only member to appear on the track.

Swift is a longtime Fall Out Boy fan. We know because:

She did an acoustic cover of their "Sugar We're Going Down" during her Speak Now tour.

Patrick Stump made a special guest appearance during Swift's Red Tour when they performed "My Songs Know What You Did In The Dark (Light Em Up)" at the MetLife Stadium in East Rutherford, New Jersey on July 13, 2013.

Swift performed with Fall Out Boy during the 2013 Victoria's Secret Fashion Show.

Both Patrick Stump and Hayley Williams make guest appearances on Speak Now (Taylor's Version) vault tracks. On choosing Fall Out Boy and Paramore's front people as collaborators, Swift said: "Since 'Speak Now' was all about my songwriting, I decided to go to the artists who I feel influenced me most powerfully as a lyricist at that time and ask them to sing on the album."

All I know is this could either break my heart or bring it back to life

Got a feelin' your electric touch could fill this ghost town up with life

Swift and Stump enter their first date with their guards up, battle-worn from the scars of past heartaches. Swift, with a history of romances that dissolved into sorrow, approaches with caution, while Stump carries the weight of shattered love each time he dared to surrender. Yet, in their seasoned wisdom, they recognize that all it takes is just one time for the sparks to ignite, birthing a love destined to span a lifetime.

Image Credit: Taylor Swift

I do not own the image, used with fair use in mind.

#taylor swift #speak now taylor’s version #fall out boy #electric touch

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moon-ruled-rising · 3 years ago

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For my Marvel friends... (A MoM Rant)

Please don't pay to watch Multiverse of Madness...

The whole thing reeks of Season 8 of Game of Thrones. Minor spoilers under the cut.

So that bit in the trailer where Wanda has her whole bit about "You break the rules and become a hero", yeah, that's just THAT scene from the last episode of GoT. Even Elizabeth's facial expressions were giving me serious Crazy Dany vibes. I swear to God she even has a whole thing about "mercy' and 'remaking the world' as well.

Of course, it doesn't help that the writer (Michael Waldron, you know of Loki fuck up fame) had never seen a Marvel movie until after Loki was in post-production and they gave one of their most POWERFUL female characters to him... even after the Loki fumble?? He mishandled Wanda's character the same way Dumb and Dumber fumbled Dany's.

The inclusion of Captain Carter was offensive. I might be biased as a Steve fan, but her saying "I could do this all day" was a slap in the face. I also think her character as a whole is annoying because the writers keep bringing her back despite her character having two air-tight endings. Not to mention will all the new information we have about Peggy being based on a Nazi from one of the old CA runs and Hayley Atwell's bullying of Emily VanCamp over the role of Sharon.

Also, that Earth-616 bullshit? Longtime Marvel Fic writers will know why I have a gripe with that.

Finally, I think all male directors need to go back to film school and relearn this very important thing called subtext. Because that film had so many terrible messages in it. From the childless Wanda being a raging mad woman who can't see reason and her child bearing counter part being the level headed, calm foil, to her characters tasteless ending after her redemption.

Major spoiler under this!!!

Not to mention, Wanda- to me at least- like Dany has always represented the feminine rage I have been taught is 'wrong', that I've been taught I must get rid of because it's threatening. What kind of message do these writers think they're sending when they kill them?? Because to me it reads: sit down and shut up.

This is the third powerful female character white men have ruined for me because they don't know what to do with a powerful woman. And I don't know how much more I can handle.

#multiverse of madness #spoilers #MoM #marvel #mcu #multiverse of madness spoilers #doctor strange 2

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salvatoreschool · 5 years ago

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Vampire Diaries Universe: The 25 Best Characters, Ranked

For the first time since 2009, we’re entering a fall season devoid of any new offerings from the Vampire Diaries universe. And like Stefan Salvatore without his daily diet of forest friends, we’re insatiable.

Like so many longtime TVD enthusiasts (those of us to whom the word “thesmatos” really means something!), we’ve spent much of quarantine revisiting the weird, wonderful universe — from Mystic Falls to New Orleans and back again. We’re suddenly spending a lot of time with characters we haven’t seen in years. And we’re having a lot of feelings about them.

In celebration of the franchise’s 11th anniversary, TVLine has assembled another totally non-controversial ranking, this time of the 25 best characters from the Vampire Diaries universe — a category that also includes familiar faces from The Originals and Legacies. (In Legacies‘ defense, the franchise’s latest offshoot hasn’t been around as long to endear itself to us, but that didn’t stop four Salvatore School students from making their way onto our list.)

In lieu of new content from the TVD universe this fall, TVLine is looking back at our 25 favorite characters from the entire franchise, including stand-out favorites from its two spinoffs.

SPOILER ALERT: This ranking discusses major plot points from all three shows. If you haven’t finished The Vampire Diaries (Season 1-8), The Originals (Season 1-5) or Legacies (Season 1-2), proceed at your own risk. Don’t say we didn’t warn you!

25. VINCENT GRIFFITH

Thanks to the magic of body swapping, the Mikaelson siblings have inhabited multiple physical vessels throughout the years, but none have remained in the family’s orbit quite like this Southern gentleman. Powerful, thoughtful and downright Shakespearean in his delivery (Yusuf Gatewood, ladies and gentlemen!), Vincent always has the greater good in mind. And as we learned in The Originals’ series finale, he helped Freya and Keelan pass that good along to the next generation.

24. LANDON KIRBY

Even though we’re still getting to know him, there’s already so much to like about this pure-hearted Mystic Falls townie. Not only is he the franchise’s first-ever phoenix, but he also looks like he could pass for Damon and Elena’s offspring — and that’s never a bad thing. We could tell he had a long future in this universe the moment he danced with Hope in The Originals’ final season. (So far, so good!)

23. JENNA SOMMERS

Like so many paved paradises, we didn’t fully appreciate what we had with Jenna until she was gone. Her death marked the end of Elena’s innocence — which is saying a lot, considering she was still mourning her own parents when The Vampire Diaries began. And if we’re being honest, Jenna was the ghost we were most excited to see again in the series finale. (For the record, Joseph Morgan has apologized on Klaus’ behalf for killing Jenna several times.)

22. TYLER LOCKWOOD

The First Son of Mystic Falls was kind of a jerk when we met him in The Vampire Diaries‘ first season. He was arrogant, aggressive and reckless — so it actually made perfect sense when he was revealed to be a werewolf. Fortunately, Michael Trevino’s character developed a little more nuance from that point on, especially via his Romeo and Juliet romance with Caroline. (After everything that’s happened since 2013, can you believe that they were once in a love triangle with Klaus?)

21. JEREMY GILBERT

Elena’s little brother (er, cousin?) went through a number of different, wonderful phases during his tenure in Mystic Falls. We loved him in The Vampire Diaries’ earlier seasons as the human embodiment of all things emo (he literally dated a ghost!), and we… um… appreciated his unexpected evolution into a shirt-ripping, wood-chopping vampire hunter.

20. CAMILLE ‘CAMI’ O’CONNELL

The Clarice Starling to Klaus’ Hannibal Lecter, this brave bartender was able to tap into the show’s darkest, most complicated character’s psyche in ways that no one named Mikaelson (or even Forbes) ever could. She helped him conquer a number of his demons in the few short years they spent together on The Originals, and like most people who play a significant role in Klaus’ life, she suffered the consequences. (Side note: Are we the only ones who really dug Cami as a vampire? Justice for that short-lived story arc.)

19. SHERIFF ELIZABETH FORBES

Of The Vampire Diaries’ many maternal figures, none put us through the emotional ringer quite like Caroline’s mother. We weren’t her biggest fans in the show’s early seasons, given her penchant for hunting the undead (including her own daughter), but hey, what was this show if not an endless series of redemption arcs? Also, if you don’t get a little choked up when Caroline felt her mom’s presence in the series finale, you don’t have a soul.

18. FREYA MIKAELSON

The long-lost fifth Mikaelson sibling was a little rough around the edges when we first encountered her on The Originals, but the poor woman was in the midst of escaping a centuries-long imprisonment, so we cut her a little slack. And we’re glad we did, because Freya has since become one of the strongest, most inspiring and all-around likable characters in the Vampire Diaries canon. #FreelinForever

17. MARCEL GERARD

While it’s easy to get swept up in Marcel’s charm and swagger (we were robbed of a second karaoke number, by the way!), it’s important to remember just how far back his time with the Mikaelson family goes. When you consider that Klaus literally freed Marcel from slavery and raised him to lead New Orleans as his right-hand vampire, it adds a whole other layer of tension to their passionate power struggle on The Originals. Though he’s treated like an unofficial Mikaelson sibling, Marcel often feels like more of a Mikaelson than Kol — and definitely more than Finn.

16. REBEKAH MIKAELSON

Arguably the funniest (and most glamorous) member of the Mikaelson family, the woman Damon once referred to as “Barbie Klaus” never fai to tell it exactly like it was, beginning with her thoughts on then-lovebirds Stefan and Elena. (“Honestly, I don’t get you two as a couple.”) And Bex only became more complex as the years went on, from her desperate desire for humanity to her undeniable love for Marcel. Just don’t call her insane — she prefers “spontaneous.”

15. ALARIC SALTZMAN

In hindsight, Alaric’s journey from hot history teacher to hot headmaster of a supernatural school makes perfect sense. Still, it was impossible to predict back in The Vampire Diaries’ first season just how much of an impact the man formerly known as Warner Huntington III would have on this franchise. A drinking buddy to some, a father figure to others and a literal father to a lucky pair, Alaric has truly woven himself into the fabric of this universe like few others. (That said, we still wouldn’t recommend dating him if you value your life.)

14. SHERIFF MATT DONOVAN

Only one full-blooded human survived all eight seasons of The Vampire Diaries, and you’re looking at him. The pinnacle of mortal goodness, this blue-eyed patriot hasn’t always been on the same page as his vampire brethren, but that’s only because he didn’t want to see any more his friends and family get eaten. And we can sympathize with that!

12-13. LIZZIE AND JOSIE SALTZMAN

Asking us to choose between Jo (by way of Caroline) and Alaric’s daughters is an impossible task, which is ironic, considering the Gemini twins are literally destined for a fight to the death on their 22nd birthday. Besides, these sisters have always felt like a package deal, from the moment we witnessed their birth on The Vampire Diaries to the day we reunited with them as teenagers on Legacies. (They also popped up in The Originals’ penultimate episode, putting them in the prestigious category of characters who have appeared in all three series.) Despite their inherent connection, Lizzie and Josie really have grown into two very different people, a journey we hope will continue for years (and shows) to come.

11. MALACHAI ‘KAI’ PARKER

The fact that this remorseless, pork rind-loving psychopath ranks so high on our list speaks volumes about actor Chris Wood, who brought a refreshingly sassy vibe to The Vampire Diaries’ sixth season. The guy was so likable, fans were even ‘shipping him with Bonnie… as if that poor girl hadn’t been through enough already! You also have to give Kai points for longevity — even after his head got knocked off, he managed to make two encore appearances on TVD (Season 8) and Legacies (Season 2).

10. HOPE MIKAELSON

As we mentioned with Lizzie and Josie earlier, we feel like we’ve watched Hope grow up before our eyes… because we have. Given the epic circumstances surrounding her conception, birth and upbringing, an adult version of this character had a lot of hype to live up to, and Danielle Rose Russell has proven herself more than up to the challenge. Imbued with her parents’ best qualities, Hope’s power and passion make her both a formidable foe and an invaluable ally. Besides, Legacies showed us what the world would be like without Hope, and it was not a good place.

9. HAYLEY MARSHALL

We can’t even think about this fierce, fearless mama wolf without shedding a single tear. Hayley’s story was basically one long tragedy, from her complicated marriage with Jackson to her tumultuous relationship with Elijah. And then there was her untimely demise in The Originals’ final season, which… actually, let’s not talk about that. From the moment she gave birth, Hayley’s heart belonged to Hope, and it was in her most extreme maternal moments that Hayley’s true strength was on display. That’s how we’ll remember her.

8. ELIJAH MIKAELSON

Suits? Pressed. Hair? Immaculate. Vocabulary? Thicc. With his smooth moves and cunning intellect, Klaus’ extremely respectful brother could do it all — well, except keep the people he loved from meeting horrific ends. (Seriously, this guy’s track record for dead lovers is right up there with Alaric’s.)

7. BONNIE BENNETT

Simply put, this is the witch you want in your corner when things go south. Endlessly powerful and selfless to a fault, Kat Graham’s character spent eight agonizing seasons sacrificing herself — often literally, hence her multiple deaths — in order to keep her friends and family safe. No amount of bloody noses or dead boyfriends could stop this badass from crushing her enemies.

6. CAROLINE FORBES

Getting smothered to death was honestly the best thing that could have happened to Caroline, who evolved from a basic, boy-crazy cheerleader into a bad-ass vampire overnight. And that was just the first phase of her franchise-long evolution into the empowered, globe-trotting mother of two she is today. She’s also responsible for all of The Vampire Diaries’ memorable musical moments, from her sweet song for Matt to her devastating performance at Sheriff Forbes’ funeral. (Now if only she’d pay her old pals at Legacies a visit…)

5. ELENA SALVATORE

She may not have Katherine’s chaotic flare, but Elena deserves credit for carrying much of The Vampire Diaries’ dramatic and romantic weight for six years. And for that pink hair she experimented with in Season 4. On top of that, Elena also rolled with the punches better than almost anyone. (You’re vampires? I’m a doppelgänger? Now I’m a vampire? Now I’m human again? Now I’m in a coma? Sure, let’s do this.)

3-4. DAMON AND STEFAN SALVATORE

Two sides of the same brooding coin, these brothers were as proficient at breaking hearts as they were at breaking necks. And while their love triangle with Elena will remain the stuff of TV legend, their relationship as brothers was revealed to be the real heart of The Vampire Diaries in its final two seasons. Honestly, it’s too hard to choose between them, so we’re not going to.

2. KATHERINE PIERCE

Come on, when were you not excited to see this leather-clad lunatic on your screen? Deliciously twisted and infinitely more interesting than her human doppelgänger, Katherine was behind many of The Vampire Diaries’ most jaw-dropping twists, from her iconic encounter with John(’s bloody fingers) to her long-awaited return in the series finale. Honestly, putting Katherine on hell’s throne in Season 8 was merely a formality — she was always a queen.

1. KLAUS MIKAELSON

The man, the myth, the legend. To think that the monster who slaughtered poor, defenseless Aunt Jenna on The Vampire Diaries is the same person who gave it all up to save his daughter on The Originals… well, there isn’t a clap slow enough to commend that kind of growth. (Again, Joseph Morgan is very sorry about the whole Jenna thing!) By the time Klaus evaporated on the streets of New Orleans, it felt like we had explored every conceivable nook and cranny of his existence, from his traumatic childhood to his fatal romances — and we relished every second of it.

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xicarcalii · 4 years ago

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Proof And Evidence

“Ooof,” Hayley mumbled as she nudged the door open with her foot and dropped a load of books. “That’s the last one from the attic, right?” Noah asked. She nodded mutely, sliding into a chair and fanning herself. He looked around the room with his hand on his hips. “I’m amazed that your dad still has all these books. Is he a hoarder?” Joshua Sinclair had been called many things in his life. Butcher, monster, murderer in more ways than one. But a hoarder was far from it. However, the one that described him best was Hunter. He had become a caricature of himself, but he wasn’t always like that. Once his emotions were as variable as the rest of the family - well what was left anyway. Once he was soft and gentle, but it isn’t like that anymore. This all happened after Celeste’s death. After she died, his personality altered - rigid even. One by one his longtime friends dropped out of the scene, worn down by his new - found aggression, negativity, and obsession. Lure books about the werewolves that killed the love of his life and mother of his child were his top priority - aside from everything else that go bump in the night. “Any idea where we are going?” Hayley pondered, skimming and flipping through various books. “Wendigo’s,” Noah answered bluntly. “Yeah, but where?” Uncertain he answered anyway, “I don't know, Jamie and Eli didn’t say. By the buyo maybe?” Hayley looked at him sideways, forcing a smile.

“I think they did and you just weren't paying attention.” He shrugged and grinned cheekily, refusing to answer. Instead turning to the piles of books that had been located in disarray on the table. “We’re going to need a bigger table, Hayles.”

@wearywinchester

duh 🙄 tagging her because I have enough balls to finally post this.

#new fic coming soon #supernatural #the originals #the vampire diaries #teen wolf #my wriitng

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ourmuse-s · 4 years ago

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Luisa Fischer Writing About Music Dr. Loughridge Published 2/21/21

Blind Album Review

Maggie Lindemann - PARANOIA Released 2021

Maggie Lindemann, a singer-songwriter from Dallas, Texas, released her debut EP PARANOIA on January 22 of this year. The twenty-two year old began her career when she rose to social media fame in 2015, gaining a large following for her singing videos on Instagram and Youtube. Since then, she has been labeled as a social media pop star, blowing up with her hit single “Pretty Girl” in 2016. However, PARANOIA has pleasantly surprised her online following and has been receiving rave reviews and comments from her fanbase. The EP has the potential to change the singer’s reputation in the music industry, transforming Maggie from a one-hit synth-pop singer to, what I like to call, a pop-punk or alt-pop artist. PARANOIA embodies a completely different style to Maggie’s previous releases that's nostalgic of early 2000s alternative rock bands and compliments her vocals and overall style. The first track “Knife Under My Pillow” sets the tone of the EP immediately. The humming of the guitar and the bass blend with the accent of the drums to contrast with Maggie’s light and breathy voice, which sets her apart from many classic alt-rock artists. Lyrically, the song stears her away from some of the classic pop music expectations many might have from her previous releases. It’s all about the anxiety of someone being in her house, and the “Paranoia slippin in” when she’s trying to fall asleep feeling unsafe in her own home. The melody of the chorus is hard to get out of your head, and will take you back to the days when artists like Paramore and Avril Lavigne were dominating the charts. Although the influence of early 2000s alt-rock artists are evident in the lyrics, instrumentation and production of the EP, there are elements of each track that keep Maggie from imitating them too directly. The harmonies and airy vocals give the album the ‘pop sound’ that we typically hear today, which contrasts well with the heavy bass, electric guitar and loud drums. Maggie has an impressive vocal range, but her naturally higher pitched and breathy voice gives a twist to her music that sets her apart from her inspirations like Hayley Williams and Gwen Stefani. This gives the young singer another level of edge, and a unique voice amongst the alt-pop genre. The EP also includes tracks like “GASLIGHT!” and “Scissorhands'', which show Maggie isn’t afraid to get experimental with her music even when it is completely unexpected for someone of her musical background. “GASLIGHT!”, featuring Siiickbrains was the track that surprised me the most when listening to it. Although it was released as a single late last year, I had never heard it before the EP release, and nearly jumped out of my seat at the unexpected vocal transition. The chorus of the song is screamed by Siiickbrains, and the rest is belted by Maggie herself. Though I was caught off guard at first, the more times I listened to the song the more I found myself turning up the volume. Likewise, “Scissorhands” incorporates more rock elements that differentiate Maggie further from some of her influences. The song, inspired by Tim Burton’s Edward Scissorhands, reflects on the loneliness of unique individuals within society. The reverb of the bass and guitar along with the harshness of the drums create an eerie and unsettling feeling. In the chorus, Maggie sings “I’ve got scissors for my hands”, which is layered on top of a sound that mimics scissors or knives clashing. This effect takes the song one step further from Maggie’s previous musical style, and gives it the edge that makes it memorable. Just when I thought that there couldn’t be any more surprises, I was proven wrong. “Love Songs'', the sixth track on the EP, creates a sudden change in pace and mood. The song starts with a light strumming of an acoustic guitar that gradually builds to a rounder sound with each chorus. It’s completely different from all the other tracks that are heavily produced and showcases Maggie’s light and airy voice in a much sweeter and simpler setting. The title and the simple, sweet lyrics make it clear that this song is the outcome of being in love. Over the course of her rise in internet fame, Maggie was put under a hot spotlight with public relationships and personal details of her life that became trending topics on Twitter and other social media platforms. When a video leaked showing the then sixteen year old Maggie being pressured into sexual activities by nineteen year old former boyfriend and vine-star Carter Reynolds, Reynolds quickly started to lose brand endorsements deals and Maggie was flooded with hate from his supporters. Being put under a microscope by thousands of fans online can only make such situations and coming into adulthood so much harder… it’s not surprising that she’s feeling paranoid. However, the young woman seems to have a much more positive support base now, and has been openly dating Brandon Arreaga, a member of the band PRETTYMUCH since 2019, to whom “Love Songs” is dedicated to. The two have since been in full support of each other’s careers, sharing each other’s recent releases to their own social media accounts while trying to stay relatively private in other aspects of their relationship. This makes the sweet and somber melody of the track so much more special, especially to Maggie’s longtime supporters, and adds an extra layer of sentimental value to the dreamlike harmonies, strings and lyrics. After this acoustic and soft track, PARANOIA returns to its rock influences with the final two songs “Different” and “It’s Not Your Fault”. These two close the EP by bringing it back full circle to the dark imagery and rock elements. Overall, the EP did not lack in the elements of surprise, keeping me on the edge of my seat with every track. I would describe it as an homage to early 2000s alt-rock music, but with a more fluid and softer vocal touch that differentiate Maggie from her inspirations. It’s hard to describe PARANOIA without relating it back to bands like Paramore or singers like Avril Lavigne, but at the end of the day, it’s a modern day take on this style of grungy and anti-pop music. After listening to PARANOIA, Maggie Lindemann has proven she isn’t afraid to go against the norm and has most definitely gained a new listener who will follow up on her next projects.

#maggie lindemann #paranoia #new album #albumreview

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officialtayley · 2 years ago

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Hello there! I hope you are well and I am sending my best wishes to Scoups! Longtime fan of your blog, first time asking something - I recall seeing somewhere a master post of Hayley’s tattoos (pics & meaning), and for the life of me now I cannot find it. I remembered it after all the talk about her removing (or not removing) her leg tattoo. I wanted to look at it again because it’s a cool post, but I can’t find it :’(( any ideas? And thank you for your contributions to the tayley community!

FIRST TIME ASKING SOMETHING OOOOOOH WELCOME!!! <3

here u go :) i couldn't find it either, the search is weird and wouldn't show it

#anon #answered #<3

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sagehaleyofficial · 5 years ago

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HERE’S WHAT YOU MISSED THIS WEEK (1.15-1.21.20):

NEW MUSIC:

· Vic Fuentes of Pierce the Veil teased new music in a number of Instagram stories, where the singer showed how he uses software to layer vocals. The frontman ended the videos by saying he can’t wait until we hear the song.

· Four Year Strong took to social media to announce they will be releasing their new album, Brain Pain, on February 28 via Pure Noise Records. The band also released two new songs, “Talking Myself in Circles” and the title track “Brain Pain.”

· Blink-182’s Travis Barker and Machine Gun Kelly participated in an interview at the Beats 1 studio, where they announced to host Zane Lowe the title of MGK’s upcoming pop-punk album, Tickets to My Downfall. The album will also feature Escape the Fate’s Kevin Gruft.

· Paramore frontwoman Hayley Williams teased more from her Petals for Armor project, posting another black box with the caption “Nothing cuts like a mother.” The Instagram page also posted screenshots from multiple movies including Bird Box and Kidnap.

· Green Day dropped their newest single off their upcoming album Father of All…, titled “Oh Yeah!”. The accompanying music video pokes fun at modern interactions due to the influence of technology.

· Derek Sanders of Mayday Parade announced that he will be releasing a solo record in 2020, a five-song EP titled My Rock and Roll Heart. The EP is scheduled to drop on Valentine’s Day and will feature a cover of Jimmy Eat World’s “A Praise Chorus.”

· Anti-Flag released a live, in-studio, full-length album playthrough of their newest record, 20/20 Vision. The multi-cam video gives us a look at what everyone is doing to create such a killer album.

· Grayscale dropped a live music video for “Tommy’s Song,” a tribute to lead singer Collin Walsh’s late cousin, and are raising money for the American Foundation for Suicide Prevention. The band revealed that they have raised close to $2,500 in donations.

· Creeper dropped the second single off their upcoming album titled “Annabelle,” which premiered on BBC Radio 1. Soon after, the band dropped a second tweet linking fans to the official lyric video.

· Halsey announced that she is releasing an extremely limited version of her new album Manic. The album is now available with its alternate album art and will be signed by the singer, but under her birth name Ashley.

· Australian act Trophy Eyes and WWE star Seth Rollins joined forces for the band’s new music video for the song “Figure Eight.” The music video, or “lyric visual” as they’re calling it, features Rollins lip-syncing to the song as he prepares to fight.

TOUR ANNOUNCEMENTS:

· Jeffree Star recently spoke out to fans regarding the cancellation of his European makeup masterclass tour, due in part to his breakup from longtime boyfriend Nathan Schwandt. Star went on to discuss the complications in his life and that it was more than just the breakup.

· Angels and Airwaves postponed their remaining shows for this month as frontman Tom DeLonge has fallen ill. The band took to social media to tell fans that DeLonge “has come down with a nasty upper respiratory infection.”

· Citizen announced a new tour with support coming from Wicca Phase Springs Eternal, Fury, Snarls and Rosie Tucker. The 19-date tour will begin in Detroit on March 20 and finish off its rounds in Indianapolis on April 24.

· Scary Kids Scaring Kids kicked off their reunion run with Secrets and Push Over, the latter of which features Kurt Travis and Thomas Erak (The Fall of Troy). The band hit the stage for the first time since disbanding following a final tour in 2010.

· Sum 41 canceled the second night of their Paris stop for the No Personal Space tour after an explosive device was detonated outside of the venue’s door. After playing Zénith Paris Friday, the band were set to play a sold-out show at the Les Étoiles Saturday.

· My Chemical Romance unveiled details for their much-teased UK show, taking to YouTube to share a video titled “An Offering…” on their channel before adding the same to social media. The band revealed they will be playing in Milton Keynes at Stadium MK on June 20.

OTHER NEWS:

· Panic! at the Disco’s “High Hopes” has officially held the number one spot on Billboard‘s Hot Rock Songs Chart for 52 straight weeks. The song first hit number one on the chart in November 2018.

· Another defendant in the ongoing Juice WRLD case filed for an extension to February 4. BMG Rights Management requested on January 13 that they have until the new date to respond to the initial complaint filed by Yellowcard.

· My Chemical Romance’s Frank Iero announced that he will be making an appearance in a new movie to premiere at SXSW called Drunk Bus. Iero announced the name of the film through an Instagram post.

· Woes announced their breakup on social media, stating that they are prioritizing their own well-being, but will finish out their journey with a tour in the UK. The group dropped their first and only full-length, Awful Things, last year on June 28.

· Fall Out Boy was the topic of heavy debate in Comedy Central’s new satire video. In the video, which includes former Smosh co-founder Anthony Padilla, we see the panelists engaged in hot debate about whether or not the band’s music is considered emo.

· Panic! at the Disco frontman, Brendon Urie, opened Notes for Notes, a new music studio aimed to help young people create music, at the Boys and Girls Club in Henderson, Nevada. The studio was also made possible by a $500,000 donation from State Farm.

· Post Malone announced he would be making his film debut on TV screens everywhere, starring with Mark Wahlberg in a new Netflix action movie Spenser Confidential. The film was first announced in 2018 and originally titled Wonderland.

· Former Black Veil Brides bassist Ashley Purdy revealed in a new interview that he didn’t choose to depart from the band back in November. In an interview with Sonic Perspectives, he said “Technically, I didn’t leave; I’m just not in the band anymore.”

· Funko unleashed plans for their newest Pop! vinyl figures including ones for bands like Slipknot, Weezer, Ghost and more, plus movies like The Craft and Creepshow. The company has many more figures they will be revealing at the 2020 London Toy Fair.

___

Check in next Tuesday for more “Posi Talk with Sage Haley,” only at @sagehaleyofficial!

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2020ya · 5 years ago

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SOMETHING HAPPENED TO ALI GREENLEAF

by Hayley Krischer

Something Happened to Ali Greenleaf #1

(Razorbill, 10/6/20)

9780593114117

Add to Goodreads

Purchase from Indiebound

Perfect for fans of Rory Power and Laurie Halse Anderson, this sharp, emotional debut follows two girls as they navigate tumultuous relationships, the effects of trauma, and what empowerment means to them. Ali Greenleaf and Blythe Jensen couldn't be more different. Ali is sweet, bitingly funny, and just a little naive. Blythe is beautiful, terrifying, and the most popular girl in school. They've never even talked to each other, until a party when Ali decides she'll finally make her move on Sean Nessel, her longtime crush, and the soccer team's superstar. But Sean pushes Ali farther than she wants to go. When she resists--he rapes her. Blythe sees Ali when she runs from the party, everyone sees her. And Blythe knows something happened with Sean, she knows how he treats girls. Even so, she's his best friend, his confidant. When he begs her to help him, she can't resist. So Blythe befriends Ali in her attempt to make things right with Sean, bringing Ali into a circle of ruthless popular girls, and sharing her own dark secrets. Despite the betrayal at the heart of their relationship, they see each other, in a way no one ever has before. In her searing, empowering debut novel, Hayley Krischer tells the story of what happened that night, and how it shaped Ali and Blythe forever. Both girls are survivors in their own ways, and while their experiences are different, and their friendship might not be built to last, it's one that helps each of them find a way forward on their own terms.

#series starter #krischer #hayley krischer #penguin #razorbill #contemporary #debut #whitebeige covers #october 2020 #oct 6 2020 #red blue covers #something happened to ali greenleaf #ali greenleaf #rachel recommended

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lunapaper · 5 years ago

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Album Review: ‘Petals For Armor’ - Hayley Williams

You’ve probably heard Hayley Williams’ debut album by now…

Originally split into three parts, the Paramore frontwoman aimed to ‘include people on the journey in the same way that I experienced it.’ But with each EP delivered in such quick succession, it killed some of the hype for Petals For Armor. At least for me, it did. Either release it as separate EPs or as a whole album. Otherwise, it just feels redundant.

When criticised for this approach, Williams called out the ‘men of Twitter that just hate the way that I’m putting out my album’ and wondered ‘How have you released YOUR albums?’ Which is rather unfair considering some female fans also felt that so many singles at once was unnecessary, myself included. That and it’s a little arrogant to suggest that just because I haven’t released an album of my own, I don’t get to have an opinion. How many times do I have to say it already: ‘You don’t get to dictate how others respond to your work. That’s the risk you take releasing it to the public.’

That’s not to say Petals For Armor isn’t good. In fact, it’s downright compelling, the singer providing a rather brutal examination of her past while imagining femininity ‘in different ways than people are used to seeing – it is primal and ferocious and gross and beautiful.’

First single ‘Simmer’ attempts to draw a line between ‘wrath and mercy’ amidst a fidgety, Radiohead-meets-Fiona Apple-meets-HAIM bass thrum; where rage begins as a ‘quiet thing’ but grows into something raw and visceral as Williams projects her maternal instinct onto her younger self (‘And if my child needed protection/From a fucker like that man/I'd sooner gut him/'Cause nothing cuts like a mother’).

‘Sudden Desire’ sees lustful urges explode in a haze of fuzzy bass and galloping snares, along with the post-coital angst (‘Don't know if I can deny/A sudden desire/Your fingerprints on my skin/A painful reminder’). ‘Leave It Alone’ is a mellow, bass-flecked ballad that has the singer coming to terms with grief in all its forms, written after her grandmother suffered serious head trauma in a fall. ‘Dead Horse’ confronts old shame with a deceptive, West-African-inspired pop lilt, Williams admitting to having an affair with her former husband, New Found Glory’s Chad Gilbert, who was married to Eisley’s Sherri DuPree-Bemis at the time.

‘Pure Love’ is carefree 80s pop that more than snatches Carly Rae’s wig, complete with power ballad high notes. The New Wave punk of ‘Over Yet’ finds ‘it’s the right time/to come alive,’ while ‘Sugar On The Rim’ celebrates rave culture with 90s techno club decadence; rediscovering love under neon lights.

‘Crystal Clear’ is a semi-duet with Williams’ grandfather awash in skipping beats and other atmospherics to reflect the singer’s newfound romance (allegedly with longtime friend and Paramore bandmate Taylor York, who also helped produce the record). On ‘Creepin,’ Williams confronts a ‘poor little vampire baby’ that sucks the life out of her atop a sluggish yet menacing bass crawl. ‘Roses/Lotus/Violet/Iris,’ though, is a force of divine feminine energy, with Williams backed by the haunting harmonies of female supergroup boygenius (Phoebe Bridgers, Lucy Dacus and Julien Baker) as she proclaims: ‘I myself was a wilted woman/Drowsy in a dark room/Forgot my roots/Now watch me bloom’).

Standout track ‘Cinnamon’ also revels in femininity, this time in the context of domestic bliss (‘Eat my breakfast in the nude/Lemon water, living room/Home is where I'm feminine/Smells like citrus and cinnamon’). Twitchy, syncopated beats find themselves entangled in a knotty bassline, all frayed around the edges. The result is a feverish blend of 90s indie, sultry RnB and folk pop, indebted to a host of other female artists who exude strength, individuality and fearlessness, including Kate Bush, Janet Jackson, St Vincent, Tune-Yards and the aforementioned Apple. And there’s no better way for Williams to pay tribute than on her solo debut, where womanhood sits front and centre.

Petals For Armor doesn’t reach any comfortable conclusions. There’s no neat bow tied around it nor is there any sudden epiphanies. Rather, it’s an ongoing journey, mostly imperfect and at other times heartbreaking. It’s a natural progression from Paramore’s 2017 album After Laughter, the sparky, colourful yin to Petals For Armor’s dark, turbulent yang.

Something that’s always bothered me is how some people try to curb your anger, that you must always choose forgiveness, to be diplomatic, to always give the benefit of the doubt. That it’s somehow a sign of maturity to stuff your feelings down.

Here, Williams completely obliterates that concept. Rage is now a beautiful, restless creature. It’s something to savour, to embrace, something to revel in. Dating all the way back to ‘Misery Business,’ the singer always been a fine purveyor of rage.

Bold, lush instrumentals also help to strengthen it, thick with the kind of basslines you can bounce a 20¢ piece off thanks to the nimble fingers of Joey Howard; the synthwork tight yet playful; the beat forever steady. Nature motifs prove incredibly vivid, but, much like life, take on a certain ugliness. Some tracks can feel repetitive here and there, especially in the record’s second half, but overall it’s a pretty consistent effort.

A cathartic slow burn, Petals For Armor is Hayley Williams (almost) born anew. Now watch her while she blooms…

- Bianca B.

#music #hayley williams #paramore #petals for armor #new #reviews #albums #Bianca B

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spookyspemilyreid · 6 years ago

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Happy Anniversary Self Titled!❤(April 5, 2013)

Paramore is the self-titled fourth studio album by American rock band Paramore. It was released on April 5, 2013, through Fueled by Ramen as a follow-up to Brand New Eyes (2009). It is their first full-length album released after the departure of co-founders Josh and Zac Farro in 2010. Recorded between April and November 1, 2012, the album was described by the band as being a "statement" and a reintroduction of the band to the world and to themselves. It is the only album without Zac Farro on drums, and the final album recorded with bassist Jeremy Davis before he left the band in 2015.

The album was produced by Justin Meldal-Johnsen, with lead guitarist Taylor York co-producing on four tracks. In contrast to band's previous work, the production of Paramore contains the band's experimentation with new musical genres, such as new wave and funk rock, and features three acoustic interludes. Paramore received acclaim from music critics, who praised the band's maturity and experimentation in terms of musicianship as well as Williams' vocals and overall presence on the album. Several publications included the album in their year-end lists, including The A.V. Club and The Guardian.

Paramore was a commercial success, debuting at number one on the US Billboard 200 with first-week sales of 106,000 copies. The album also topped the charts in Argentina, Australia, Brazil, Ireland, and New Zealand, where it became their first album to reach the summit. It also became their second chart topper in the United Kingdom. In March 2016, Paramore was certified platinum by the Recording Industry Association of America (RIAA), for sales exceeding 1,000,000. The group followed the record release with The Self-Titled Tour in promotion, with European, North American, Asian, Latin American, and Oceania legs announced. In 2014, Fall Out Boy and Paramore co-headlined Monumentour. A deluxe edition of the album was released on November 24, 2014.

The recording of Paramore began in April 2012 with the song "Daydreaming". After a brief pause, recording resumed on June 27 of that year and ended on November 1, 2012. It is the first Paramore album released after the departure of Josh Farro and Zac Farro, both of whom left the band in 2010.

The album was produced by Justin Meldal-Johnsen, longtime bassist for Beck and Nine Inch Nails, who has previously produced records for M83 and Neon Trees. In an interview with Electronic Musician, Meldal-Johnsen stated he wanted "the album to sound very visceral and a little bit less locked down and computerized, more 1981 than 2012, with a nod to 2016." In an interview with Digital Spy, Taylor York stated "I don't think we've ever been so proud and satisfied with something we've done." On June 29, 2012, the band had confirmed that former Nine Inch Nails and current Angels & Airwaves drummer Ilan Rubin would be recording drums for the album.

In an interview with Rolling Stone, lead vocalist Hayley Williams explained "That whole time for our band was such a dark season. It was emotionally exhausting, and by the time we got around to the point where we were going to start writing, we just really wanted to enjoy the process of making an album..." when asked about the direction of the band after Brand New Eyes. Regarding the album being self-titled, Williams explained "The self-titled aspect of the whole thing is definitely a statement. I feel like it's not only reintroducing the band to the world, but even to ourselves ... By the end of it, it felt like we're a new band." She also stated that she was inspired by Blondie's and Siouxsie and the Banshees' records when writing the new songs: "They’ve got so much heart and soul in them."

On December 6, 2012, Paramore made an announcement through their official website revealing the name of the album and the release date as well as the name of the first single from the album. The track list was announced on January 18, 2013 by Alternative Press. During the 2013 Soundwave Festival, Paramore held a listening party in Sydney, New South Wales on February 26, 2013, followed by Melbourne, Victoria two days later, run by Australian Music Channel, Channel V. ]Williams revealed a section of the lyrics for the song 'Part II' which the winners were able to hear at the listening parties on a LiveJournal post. Williams told fans that "'Let The Flames Begin' has been a favorite of ours to play live, as well as being a favorite of most people who come out to our shows.... We wanted it to have a sequel. 'Part II' it is!"

The vinyl version of the album was streamed beginning on April 1, 2013 for four days, with each day playing one of the four sides. The album was then officially released on April 5, 2013. The band played an acoustic version of "Hate to See Your Heart Break" on the BBC Radio 1 Live Lounge on April 3, 2013, announcing that on the same night, the full song would be premiered on their official website. On April 20, 2013, the band released an EP for Record Store Day, titled The Holiday Sessions, released exclusively on a 7" vinyl, and is composed of the three interludes from this album. A music video for "Anklebiters" was released on June 25, 2013. The song, however, was not released as a single.

The Self-Titled Tour in North America took place from October 15 to November 27, 2013. The Self-Titled Tour takes the band through 27 cities across North America, including Paramore's first headline show at Madison Square Garden. On August 22, 2013, the band announced their own cruise, called the "PARAHOY! Cruise", sailing from Miami to the Bahamas and back on board the Norwegian Pearl, which took place from March 7 to March 11, 2014. On January 9, 2014, the band, along with Fall Out Boy, announced a co-headlining North American summer tour dubbed, "Monumentour", which took place from June 19 through August 31, 2014. On January 22, 2015, Paramore announced "Writing The Future", a round of small shows across the United States, closing out the Paramore touring cycle. It lasted from April 27 to May 25, 2015.

On January 5, 2013, Paramore released a teaser of the lead single "Now", revealing a snippet of the song and the release date of the single, which was January 22, 2013. Paramore streamed the song on their website January 21, and the song was then made available for sale along with an album pre-order through iTunes the next day. In the UK, "Now" was instead released January 24, 2013. The music video for "Now" was directed by Daniel "Cloud" Campos and premiered live on MTV on February 11. It was uploaded onto YouTube the next day.

The album's second single, "Still Into You", was released on March 14, 2013. A lyric video for "Still Into You" was uploaded to YouTube a day earlier, after the band performed it live for the first time at the 2013 South by Southwest festival in Austin, Texas. On September 18, 2013, "Still Into You" was certified 'platinum' by the RIAA. "Daydreaming" serves as the third single from the album. It was released on December 2, 2013 only in the UK. The music video premiered in November 5 on the UK MSN.

"Ain't It Fun" is the fourth single from the album. The radio edit premiered August 28, 2013, and the single was released on February 4, 2014. A music video for the song was planned, but was put on hold in favor of a music video for "Daydreaming", also, as informed by Williams, the band was unhappy with how the video was turning out; A new video for "Ain't It Fun" was shot and premiered on January 29, 2014. "Ain't It Fun" then received the award for Best Rock Song at the 57th Annual Grammy Awards, a first for the band as this was their first Grammy win. On June 18, 2014, "Ain't It Fun" was certified platinum by the RIAA and then on July 8, 2015, double platinum. Shortly after, "Still Into You" received double platinum certification as well from the RIAA.

Though not released as a single, the band felt a special connection with the song "Anklebiters" and released a music video for it on April 5, 2013.

"Hate to See Your Heart Break" was re-recorded in 2014 to feature Joy Williams on vocals for inclusion on the deluxe edition of the album. A black-and-white video for the song premiered November 24, 2014. It reached number 23 on the Billboard Hot Rock Songs chart.

The album has been a major commercial success worldwide, debuting at number one in eight countries including the UK, Ireland, Scotland, Argentina, New Zealand, Brazil and Australia (where it was the eighth consecutive number one debut on the chart and also the 32nd self-titled album to top the Australian chart). The album also peaked within the top 20 of 9 other countries. In the US, the album debuted at number 1, with first week sales of 106,000 copies. This marks the first Paramore album to reach the top spot on the chart.

"Still Into You" charted within the top 10 in Australia and Ireland and reached the top 20 in several others. The single topped the UK rock chart and peaked at number 14 in the singles chart, thus becoming the band's second highest charting single in that country, behind "Ignorance" from the band's previous album Brand New Eyes. In the US, the song peaked at number 24, matching "The Only Exception" from the same album as the band's highest charting single at the time. It also peaked at number 6 in the US Rock Chart and number 8 in the US Mainstream Top 40. "Ain't It Fun" shared similar success, charting within the top 10 in Canada and Hungary. It eventually became Paramore's best selling single to date in the US, charting at number ten in the Billboard 100, number 2 in the US Mainstream Top 40 and number 1 the US Rock Chart and Adult Top 40. The single marks the first time a Paramore song has reached the Top 10 in the US.

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hallelujuh · 6 years ago

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shay’s favorite albums of 2017

didn’t commit to finishing this until the literal very end of 2018 but whatever fdjhfkjdsnfds

I’m not sure if it was my newfound willingness to explore new genres and artists, but I thought 2017 was a fantastic year for music. Plenty old favorites of mine released new albums this year, and I was lucky enough to discover a lot of music, both from new musicians and old. Here’s my top twenty albums of this year.

20. Divide by Ed Sheeran

19. Fin by Syd

18. Blossom by Milky Chance

17. I See You by the xx

16. Trip by Jhene Aiko

15. Good for You by Amine

14. Future Friends by Superfruit

13. Sacred Hearts Club by Foster the People

12. American Teen by Khalid

11. All We Know of Heaven, All We Need of Hell by Pvris

10. From the Outside by Hey Violet - While I originally only cared about this band because it’s composed of mostly girls, which is rare, I’ve grown to really love them as musicians. They’re very creative, producing catchy pop tracks that aren’t like most pop songs, and their debut album is fun as hell. Each song makes the listener feel badass and sexy and young, and you just kinda wanna dance and enjoy life. Favorite track: Tie between Like Lovers Do and Unholy. The former is distinctive and unique, and reminds me of Emilie Autumn, and the latter is incredibly well-produced and pretty visceral for a pop track by such a young band.

9. After Laughter by Paramore - Continuing their previous album’s sound so that every song sounds like Ain’t It Fun, After Laughter has a gorgeous aesthetic, a memorable sound, and, notably, follows the trend of most emo artists of today - disguising sad lyrics beneath happy music, as made famous by Twenty One Pilots. Each song is catchy, allow the lyrics all leave you feeling a bit empty, but you’ll be dancing to misery. Favorite track: 26. I’m always a sucker for the one mellow song on an album full of bops, and that rang true once more. 26 is about reflecting back on how you’ve spent your youth, and it’s paired with a bittersweet simplistic guitar. Hayley’s vocals hold pain, but also gratitude.

8. Hopeless Fountain Kingdom by Halsey - I’ve been a huge Halsey fan since before Badlands even came out, when all we had was Room 93 and live versions of then-unreleased tracks. Though her evolving sound was criticized by some, I appreciated that HFK follows the formula so many other sophomore records follow, with the lyrics addressing new-found fame and how the artist is dealing with it, and also how they want their sound to be since they’ve already made it big. This record was clearly more hip-hop driven, with production that sounded heavily influenced by Kanye, but it felt fitting. Furthermore, HFK is the redemption arc to Badland’s heartbreak-themes. It’s really a triumphant album overall. Favorite track: Sorry. While 100 Letters is my most-played track and therefore a close second, because the simplistic beat allows Ashley’s lyrics to shine, and she’s a lyricist and a poet before she’s a singer - I believe Sorry is the quintessential song from this record. Her pain is so tangible in this stripped-down ballad, and it’s such a nice switch from her usual lust-driven upbeat songs. I always have respect for musicians who can bear their sleeve in such an open, honest way, and while Ashley’s always been vocal about her struggles, it’s still nice to hear such a heartfelt track come about even after all her success.

7. Dua Lipa by Dua Lipa - This young pop singer's self-titled debut is a catchy, passionate, and solid record that's earned her a well-deserved place on the charts and in people's playlists. The songs are rather cliched, recycled themes that I've heard from dozens of other young female artists, but there's some emotionally-charged pop ballads that show potential. Dua's vocals remind me of a raspier Ariana Grande mixed with a less-powerful Christina Aguilera. Seeing as those two aforementioned singers can over-do their performances a bit, I enjoyed this mellower newcomer. Don't get me wrong, Dua's unique in her own way, and she's hardly a copycat; but I'm worried her talent will overlooked because there's already others like her. Still, it was a solid album that I enjoy thoroughly, and I had multiple tracks from it on repeat.

6. Beautiful Trauma by P!nk - I've been a P!nk fan since I was very young, and this album was wonderfully nostalgic to me. P!nk's one of the few artists who's never been swayed by a need to stay relevant; she just makes the music she wants to make, and her fans love her for it. This record was, at times, a little generic beat-wise, but still distinctly P!nk. As always, she wore her heart on her sleeve and you can feel how personal every song is; how genuine every word is. It really pays off. Favorite track: Barbies - This is a song I think every girl over thirteen can relate to. I'm twenty years younger than P!nk, but this track really resonated with me. It was the only song on this record I listened to repeatedly. I think every girl wants to grow up as quickly as possible, but once you reach adulthood, you just want to be a kid again. You long for simpler times. The beautiful message of the song (enjoy your youth) is paired beautifully with gorgeous instruments (violin! cello! wow!), which adds a timelessness to the track.

5. One More Light by Linkin Park - Although most, myself included, were unhappy with the pop-driven sound of LP’s seventh effort, the death of Chester added a lot to how meaningful this album is. Listening to it now fills me with a hopeful nostalgia, in contrast with how I listened to it in the days following his passing. What once sounded like a cry for help that no one listened to, now sounds like a triumphant farewell. As usual, these guys put their hearts into the making of this record, and it’s a real bummer that it took Chester killing himself to make people appreciate that. LP is a master at their craft, regardless of what genre they’re feeling at the moment. It’s a solid album, full of truly heartfelt lyrics and Chester’s beautiful voice, and I’ve often found myself listening to it when I’m feeling down. It really helps. And that’s what LP’s music has always been about, I think. Being there for you when you feel like no one else is. This album still felt like that, even though it was through a different genre. They let go of the anger that fueled their signature sound in the beginning, in exchange for a more rounded, reflective take on things. I think that’s comforting, and beautiful, in a way no one seemed to understand. What’s better than someone making peace with the world? Alternatively, what’s worse than someone taking their own life because people didn’t want to see them get better? Favorite track: Talking to Myself. I watched this video the day it was released - hours before Chester’s passing was announced. I enjoyed the bass and the video made me smile. After I found out, and after a few hours of crying, I rewatched this video, and it meant so much more the second time. The song itself is a favorite because it’s such a fun track. The bass line is catchy as hell, and my favorite part of the song is the chorus following the bridge, where Chester does a powerful run and then briefly lapses into Meteora-style vocals (”you keep running like the sky is falling”). That bit is so profoundly incredible to listen to for me, and I’m glad he left us with it.

4. Revival by Eminem - I’m one of the biggest Eminem stans of all time, so I’d probably buy a record that consisted entirely of Marshall shitting - but in all actuality, though he could never disappoint me, I was prepared for the worst, and I was pleasantly surprised. This album felt more solid than MMLP2′s experimental sounds, with Em showing us he really hasn’t fallen off. His usage of words like “lit” and “shook” are admittedly a little cringey, and his take at a more modern sound on Believe (with a trap beat and a Migos-like flow) is questionable, but the lyrics show he’s just as on top of his game than ever. It’s not an instant-classic like MMLP - those days are probably over - but it’s a decent record with several damn good songs. (Edit, 12/2018: Bro I wrote this last year, what the fuck was I on dgfkjdgh.) Favorite track: In Your Head. While the most memorable tracks on this record are definitely the collaborations - my favorites being River with Ed Sheeran and Need Me with P!nk - this rather short track really stood out. I listened to the album for the first time on my CD player, without having looked at the track listing since it was released a few weeks back, so every song was a surprise, and when I heard O'Riordan’s vocals, I got very excited, since Zombie is one of my favorite songs of all time. Though the original song is about war, Em raps over the sample track’s bass line and signature guitar riff and speaks about the skeletons in his closet with a passion reminiscent of The Eminem Show and a flow taken from his Recovery days. The smooth transition to Castle is another nice touch. While his speed in the last thirty seconds of Offended is impressive (with Flight of the Bumblebee in the background! Ha!), this was the song that sold me on this album. It’s everything I love about Eminem. (Note: This was written before O’Riordan’s passing. RIP.)

3. Scum Fuck / Flower Boy by Tyler, the Creator - From the goofy poster boy of a generation of carefree and colorfully dressed punks, to an extremely talented and capable producer and musician, watching Tyler’s growth as an artist and a human has been extremely rewarding, especially as a longtime Tyler/OF fan. While Cherry Bomb failed to impress me in the midst of my emo-craze, I appreciated that it was a turning point in Tyler’s career. SFFB, however, successfully took me right out of my indie-craze. Flower Boy builds upon what Tyler tried to do on CB, and it works out much better. Watching his brilliant NPR Tiny Desk Concert only solidified this belief. Tyler’s a musical genius, and I hope more people come to realize it. Favorite track: 911/Mr. Lonely. The whole record is full of earworms - Glitter, Boredom, See You Again - and it’s truly a feat Tyler was able to pull that off. But I have to go with this single - both songs are catchy, the production is masterful, Frank Ocean and Steve Lacy’s voices are beautiful. Who Dat Boy didn’t particularly excite me upon first listen, but these two tracks did, because they reminded me how talented and incredible Tyler is.

2. DAMN. by Kendrick Lamar - My favorite thing about musicians is getting to watch them mature, both musically and personally. I’ve frequently compared DAMN to J. Cole’s 4 Your Eyez Only, as both records feature Jermaine and Kendrick discussing much more mature concepts within their albums. Kendrick’s always been grounded because of his upbringing, whereas Cole was a little more blinded by fame for the first few albums. However, since their respective last albums, Kendrick has gotten engaged, and Cole got married and had a little girl (EDIT: Apparently he had a boy!), and you can hear how these lifestyle changes have influenced their lyrical content, which is really nice to behold. Kendrick’s always seemed like a very intelligent person, with an understanding of the world many in his field lack, and this album highlights that beautifully. Favorite track: Humble. While Love’s a personal favorite, Humble’s success reminded me of Control. I still remember the day that dropped - and Humble felt similar, as it was Kendrick reminding us that he’s simply on another level. The simplistic and almost grating beat excellently parodies every single rap song that’s on the radio these days, except Kendrick proves his superiority by showing us that the beat’s not the important part; the lyrics are. It’s genius, and I’ll never get over how iconic it is, honestly.

1. Saturation I, II, & III by Brockhampton - Because this remarkably talented new group released three new records this year, and I can’t pick a favorite, nor can or do I want to rate them separately, they easily earn this spot. With flawless and innovative production, refreshingly creative and intricate lyrics, remarkable versatility, and, best of all, a youthful individuality reminiscent of Odd Future circa 2011, Brockhampton is one of the best things 2017 has offered. I’ve grown attached to these kids, and I’m glad I’ll be able to see where they go and how big they get. Favorite track: Star. While Junky is the most impressive track, and Follow is my personal favorite, Star earns this spot because it’s the song that single-handedly got me into Brockhampton. The name-dropping bop is a good introduction to the band, as it features their signature memorably synth-infused beats, Ameer’s clever wordplay, Ian’s favorite thing to talk about (his sexuality) as well as his penchant for hooks and bridges, Merlyn’s loud and brash vocals, etc. I won’t be compiling a list of my favorite songs of this year, but if I did, this would easily make the top ten. It reminded me exactly why I love rap music, in a time when I was beginning to doubt hip hop.

honorable mentions

CTRL by SZA - Though I’d never heard of SZA aside from her feature on Consideration, this album was hyped immensely by Twitter, so I felt I had to check it out. Unfortunately I was disappointed. Although the album’s masterfully done, and I love the production and her voice, the lyrical content ruined it for me. Of course, this is personal preference, and she’s allowed to write songs about whatever the hell she wants to, but the nature of the lyrics were what kept me from being a fan. To each their own, I guess.

Everybody by Logic - I wasn’t a big Logic fan prior to 1-800. Funny story, actually - I thought he was entirely white, and I’m vehemently against white rappers. He's more like a biracial Kendrick, especially in flow on Hallelujah. The record continues the trend started by Bey’s Lemonade of celebrating black power and beauty, with Logic demonstrating a fresh, biracial perspective on it. Loved that there were actual instrumentals, that was refreshing, considering modern rap beats are often created entirely using synthesizers. Also love that Logic’s cementing himself as the Inclusive Rapper, and accepting that title proudly. Good for him.

I Decided by Big Sean - I’ve been a casual Big Sean fan since Finally Famous (2011), but he’s very rarely impressed me with his lyricism. This album showed that Sean’s matured and grown as a person and a rapper, but the songs didn’t leave enough of an impression on me to be featured on my list.

Lust for Life by Lana Del Rey - Although I’m sure die-hards were more than happy with this record, I didn’t enjoy it as much as I wish I could’ve. Lana’s sound hasn’t changed much, so I don’t think the quality of her music is decreasing, I just think my tastes are changing. This newer stuff hasn’t appealed to me nearly as much as her Born to Die/Paradise stuff did. I think 2012!me would’ve loved this record, but 2017!me was unsatisfied.

Melodrama by Lorde - I can always appreciate growth in an artist, but in Lorde’s case, I couldn’t bring myself to like the change. While there’s traces of the sound that put her on the map, and the music still sounds like teenage rebellion, it just doesn’t invoke the same feelings. It’s less grounded - and not in a good way.

Lovely Little Lonely by The Maine - The pop punk 1D continues to make catchy, solid tunes, but nothing about this record particularly stands out to me. Still, it’s a decent album from an underrated band.

extended plays

they’re too short to be included in my top albums, but i wanted to mention them anyway.

Caught Up by Sarah Close - I found this adorable Brit through her fantastic covers of popular songs, and thankfully I was subscribed when she started posting original music. Caught Up isn’t particularly unique, but the songs are fun, her voice is wonderful, and it’s a solid little EP.

Y.O.U by Dodie - I’ve watched Dodie’s covers for a while, so it’s nice to see she’s making original stuff. Love the style of it. Very excited to see what she puts out next.

dont smile at me by Billy Eilish - The fifteen-year-old, who sounds very similar to the recently-disgraced Melanie Martinez, may talk like an annoying skater boy, but her angelic singing voice keeps pulling me back in. I’m not used to talented celebrities being younger than me. It’s depressing. (EDIT: I spelled Billie wrong jdgdhf she’s in my top 10 artists of this year now too hahh)

Hard by The Neighbourhood - This band has been a favorite for four years now; I even saw them live for my birthday in 2015. They could never disappoint me, but their recent music hasn’t changed much to what long-time fans like myself fell in love with in the days of I Love You, which is nice to see, when so many other artists I used to like are experimenting with their sound in unflattering ways.

#mine #txt #2017

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