#best female pop songs 2014

[x--daughters-of-darkness--x]

The 100 songs that changed metal (by Metal Hammer)

74. Within Temptation – Ice Queen (Mother Earth, 2000)

In the 90s, symphonic metal was more a glittering garnish than a scene in itself, something bands from Therion to Celtic Frost would sprinkle on their music to make it sparkle. And while the genre would start coming together into something more tangible towards the end of the decade, it wasn’t until a few years later that a song would emerge to put symphonic metal on the map.

That song was Within Temptation’s Ice Queen. A complete volte-face from the gothic doom of the Dutch metallers’ 1997 debut, Enter, it appeared on the follow-up, Mother Earth, in a flurry of lavish arrangements and fairytale histrionics. Buoyed by vocalist Sharon den Adel’s crystalline voice, it pushed metal towards a new frontier, quickly whipping up a buzz in mainland Europe. Ice Queen can take credit for being symphonic metal’s first major hit, pushing women to the forefront and influencing a brand new generation of bands.

81. Evanescence – Bring Me To Life (Fallen, 2003)

Evanescence’s debut single, Bring Me To Life, turned vocalist Amy Lee into a megastar. Arriving in 2003, when mainstream music was dominated by hyper-masculine men and overly sexualised pop stars, with her billowing long skirts, corset tops, arm socks and steely self-confidence, Amy redefined what a female artist could be, becoming a role model for millions of misfits and dreamers everywhere.

Despite its crunchy guitars and a rapped verse, courtesy of 12 Stones’ Paul McCoy – which Amy has since said she was forced to add by their label – Bring Me To Life’s cobwebby, goth fragility also brought something fresh to nu metal’s dick-swinging party, extending the mainstream’s flirtation with the genre for a little longer – as of 2019, it’s sold more than 3 million copies and has passed more than a billion streams on YouTube and Spotify.

82. Arch Enemy – We Will Rise (Anthems Of Rebellion, 2003)

We Will Rise was a huge song, not only for Arch Enemy but for the new generation of 21st-century melodic death metal they spearheaded. Guitarist Michael Amott had already laid down the melodeath blueprints with Carcass, while Arch Enemy themselves had already made three albums with singer Johan Liiva, but neither they nor anyone else had made an anthem quite like this.

As well as propelling the genre as a whole to greater heights and popularity, it provided a bigger platform for Angela Gossow – a hugely influential figure and one of the first prominent female vocalists to not only try but absolutely nail an extreme metal style. “Her emergence as a metal vocalist was, without hyperbole, revolutionary,” Svalbard’s Serena Cherry told us recently, and we’re not arguing.

84. Nightwish – Nemo (Once, 2004)

Nightwish didn’t invent symphonic metal, but alongside peers Within Temptation and Epica, they popularised it and packaged it to the masses. By 2004, the Finns had already established themselves as a major player in Europe, but with the sumptuous Nemo, they broke through on an unprecedented level.

No longer a niche concern in the geeky corners of the metal world, symphonic metal, in all its lavish, overwrought glory revelled under a global spotlight. Nemo’s fantastical magic, sparkling piano refrain and stirring melody has endured – it’s still the band’s best-known song – but its lasting image comes via its gothic music video, and then-singer Tarja Turunen singing in the snow in a blood-red coat. Nemo showed metal at its most fragile and beautiful.

95. Babymetal – Gimme Chocolate!! (Babymetal, 2014)

If elitists were tearing their hair out at the likes of Ghost, Bring Me The Horizon and Limp Bizkit being considered ‘metal’, then they might as well have just reached for the clippers for this one. The sight of three young Japanese girls rocking choreographed moves and singing sugary-sweet, J-pop-infused choruses about chocolate over heavy metal riffs was as shocking as it was delightful.

Babymetal hadn’t just broken the mould for metal, either; they’d given the West a fuller glimpse into the uniquely Japanese phenomenon of idol culture, and given the cutesy world of Kawaii a bigger global platform than ever. Overseen by band mastermind and producer extraordinaire, Key ‘Kobametal’ Kobayashi, Babymetal were unlike anything our world had seen before: equal parts hyper-polished girl band and full-on heavy metal experience, with their mysterious Kami Band backing musicians as formidable as any ‘proper’ metal band you could name.

Cynics moaned, but with the likes of Rob Halford, Metallica and Corey Taylor throwing in their support, the trio quickly transcended their ‘gimmick’ tag to become a legitimate force in the modern metal landscape.

99. Spiritbox – Holy Roller (Eternal Blue, 2022)

Spiritbox were already firmly established as Ones To Watch by the time Holy Roller, the first single from Eternal Blue, exploded like a hand grenade in the summer of 2020. Once those first, colossal riffs rang out, however, it was clear that the Canadian troupe hadn’t just levelled up considerably – they had successfully repositioned themselves as one of the most exciting and vital bands of their generation.

Backed by a memorable video inspired by Ari Aster’s disturbing Midsommar movie, Holy Roller was the perfect crystallisation of the last decade-plus of evolution in metal, packing djent, metalcore, nu metal and more into a massively crushing (but seriously catchy!) three minutes. “This song was never intended to be a single,” explained vocalist Courtney LaPlante later. “Our mission statement was, ‘Let’s make the most ridiculous song that we can.’”

[jokeroutsubs]

[ENG TRANSLATION] Joker Out, or the return of faith in the power of music:

Original article written by Žikica Milošević for EXIT 13.07.2024. English translation by IG irenalemajic, proofread by IG gboleyn123

The second night of Exit Festival 2024 on the Tesla Universe stage was literally and thematically dedicated to pop music, specifically 'classic', 'old school' pop music. The most significant stage of the festival was marked by performers from Slovenia and Vojvodina, so the north of former Yugoslavia demonstrated how to create an atmosphere and memorable songs.

And it began powerfully, while the sun above Petrovaradin Fortress, after another day of being merciless, was still blinding the performers, because Astrid & The Scandals got on the stage at 7:30 p.m. restoring our faith in alter-pop, as well as in Slovenian talent to produce hitmakers. In the old Yugoslavia, Slovenians were always at the forefront of musical breakthroughs, dictating trends along the Ljubljana-Zagreb-Belgrade axis. Independent Slovenia no longer had a lead role and for many decades we did not hear performers similar to Laibach, Pankrti, Lačni Franz or Buldožer, but the situation has abruptly changed in the past few years.

Instead of avant-garde and peculiar performers, hitmakers and creators of great pop music are now coming from Slovenia. The bouncy Astrid energetically announced the 'new era', adding oriental elements to her music, dancing seductively and delivering vocal virtuosity. Undoubtedly, she is 'the next big thing' in pop music in the region, and with a bit of luck, in Europe as well.

It has not happened for a long time, that the atmosphere becomes so 'heated' already at 8 p.m, but Astrid had already raised the temperature and the girls in Joker Out T-shirts were in the front rows even during the performance of Ljubičice, which perfectly continued the series of performances this evening. Their concert is a kind of poetic justice - they were supposed to lead the Main Stage at Exit in 2019 at 8 p.m. but unfortunately, the storm cut the program short and 'plucked' them from the lineup.

In the meantime, the band from Pančevo, which is composed of the two Stevanović brothers, who got a classical music education, has grown into a trio, since Olga Petrović has recently joined them as the 'third flower' in their little bouquet. There's an old saying that 'Vojvodina is Britain and Belgrade is America' in music, and pop bands from Vojvodina are widely known for their fresh melodies and hit potential and Ljubičice who, with their 'brotherly and neighbourly' band Buč Kesidi, began to conquer the region even before the pandemic, gaining fame with the song 'Jedva čekamo rat ljudi protiv mašina'. Ljubičice are the kind of pop band we've needed for a long time, and if their songs reminded me of anything, it is the sunset in summer...of 1983. A mixture of funk, synthwave and nostalgia, combined with guitar and bass skilfulness, gave us an excellent overture for what will happen later. Vuk reminded the audience that they performed at Exit back in 2014 on the Jack Daniels Stage, when they were young and relatively unestablished – and now they command the stage as if they were born to it.

And then - Joker Out, heartbreakers from Ljubljana, form with substance, the best of both worlds. It was clear to us what to expect when, at the mere hint of their entrance, the screams of the girls began, which I remember from the documentaries about The Beatles. Love messages on cardboard signs, choral singing, fantastic communication between the band and the audience were evident right from the opening song, 'Katrina'.

Joker Out are much more raw and more guitar-driven during their live performances than on their 'polished' recordings and the influences of bands such as Arctic Monkeys or The Strokes are evident.

On the other hand, the fascination of the female part of the audience is completely understandable, because besides the fact that they really know how to play, all five members have a 'superstar vibe', in the way Duran Duran or Spandau Ballet once had the same vibe. I believe that the last time such a reception was registered was during the era of boy bands 20+ years ago, but the Jokers are anything but a boy band. Singer Bojan Cvjetićanin probably 'reaped' the biggest 'harvest' of love from the audience, but the other members are not that far behind.

Slovenian is 75% understandable when read or spoken, which drops to 50% when sung (and when thousands of girls are singing along with Bojan), but it's clear that the lyrics are engaged in a way similar to Buč Kesidi – precisely dissecting the everyday life of young people in a big city, their disappointments, dates, breakups, loves and sorrows...

Bojan won the hearts of the local audience from the very beginning by addressing them in Serbian and he also managed to make a 'population census' among the attenders. We saw that (incredibly loyal fan base) quite a number of spectators came from Slovenia, but that there were even more people from the other parts of the former Yugoslavia and even those who understand none of our languages ​​- simply driven by their love for the band that gained wider popularity at Eurovision in 2023.

The Jokers did not hide their exitement to perform on this already legendary stage.

The concert continued with a series of songs that are 'friendly' for parties, bedrooms, the beach and the radio - 'Plastika, znanstvena fantastika' and Bojan's sharp analysis of the 'culture' of plastic beauty made me look around and conclude that none of the girls in the audience were 'plastic' - which is a breath of normality and freshness we've been lacking now that we are wrapping up the first quarter of the 21st century. A better future is still possible, even though a worse present is dominant.

Joker Out jokingly call their style 'shagadelic rock' (translate it by yourself, but watch Austin Powers first), but there is nothing funny about their music. All of their songs are in Slovenian, except for two they performed in Serbian¹ (Bojan’s background allows him to play with languages and easily switch from one to another) and one in English.

In the song 'Tokio', they took us to Japan and sang part of it in Japanese too, previously teaching a 'little course on love expressions in Japanese.'

'The song that brought us here – 'Carpe Diem'!' – Bojan shouted and the audience received an infusion of energy and joy. Indeed, it was almost unimaginable 20 years ago that a 'schlager festival' would produce new stars and headliners, but Eurovision has become just that – a springboard. And it doesn't matter that they were 21st in the competition. Who cares about numbers – some performers are there to win points during the competition and some are there to conquer the world after the competition. The last song, 'Šta bih ja', was perfectly timed to be released on Friday, on the day of the concert – and it tells us, somewhat in the manner of 'Arctic Monkeys listening to Sarajevo pop', about the experience of life in London.

Joker Out brought 'sexy' back to pop music. We didn't lack cheap sex appeal all these years, but we did miss sophisticated and rock sex appeal. They brought the classic pop formation back big time – and we've missed it. They brought the energy back to the stage, female fans who travel to see them, scream their names and know all the songs by heart.

I can imagine the 'good old' days of girls' bedrooms decorated with their posters. Even if they hadn't recorded a single good song, all of this would have been enough and refreshing. But they recorded plenty of good ones. And somehow I believe we witnessed history and the beginning of a 'stellar' story with five guys from Ljubljana in the lead role.

¹In this case, the author of this article is referring to two songs that have already been released in Serbian, 'Ona' and 'Demoni'.

The band now has three songs in Serbian, including 'Šta bih ja'.

[venusvity]

Jung Yoonah (Korean: 정윤아, born November 16, 1998), known professionally as Baebi (Korean: 배바이; Japanese: ベビ), is a Korean singer, dancer, and actress based in South Korea. She is a member of the South Korean girl group Venus, formed by Angelico Entertainment in 2018. She is portrayed by Jennie Kim, Im Youha, & Go Minsi.

Yoonah was born on November 16, 1998, in Guri, Gyeonggi Province, South Korea as an only child. Her mother taught art at a university while her father worked in sales. Yoonah began dancing at the age of three, being put in ballet by her mother.

Yoonah trained in ballet from a young age, having practiced it for eleven years before debuting with Venus.

Yoonah would attend the School of Performing Arts Seoul (SOPA; Korean: 서울공연예술고등학교 / 서공예), where she would be scouted by Angelico Entertainment.

𝟐𝟎𝟏𝟐 - 𝟐𝟎𝟏𝟑 : 𝐀𝐧𝐠𝐞𝐥𝐢𝐜𝐨 𝐒𝐜𝐨𝐮𝐭𝐢𝐧𝐠 & 𝐏𝐫𝐞𝐝𝐞𝐛𝐮𝐭 𝐚𝐜𝐭𝐢𝐯𝐢𝐭𝐢𝐞𝐬.

While attending SOPA, Yoonah would be scouted by Angelico's CEO, Son Jinhwa, and COO, Jeon Jihan, through an open audition the pair hosted at the school. She was scouted for her visual and dancing skills.

Yoonah would become a frequent feature in Priority music videos, acting as a love interest to the boys or as a backup dancer. She would also model for various CF brands and commercials.

In Januaray 2014, it was announced that Yoonah would debut in Angelico's first-ever girl group, Emphasis.

𝟐𝟎𝟏𝟒 - 𝟐𝟎𝟏𝟕: 𝐃𝐞𝐛𝐮𝐭 𝐰𝐢𝐭𝐡 𝐄𝐦𝐩𝐡𝐚𝐬𝐢𝐬, 𝐃𝐢𝐬𝐛𝐚𝐧𝐝𝐦𝐞𝐧𝐭, 𝐚𝐧𝐝 𝐀𝐧𝐠𝐞𝐥𝐥𝐢𝐞𝐬.

Yoonah debuted with Angelico Entertainment's Emphasis on May 21, 2014. Emphasis officially debuted and released their first mini album, EMPRINTSIS, accompanied by the title tracks "Symphony" and "Road Trip."

Emphasis would have their first and final comeback with their second mini album, EMPATHSIS, promoting the title tracks"Love Bomb" and "Wee Woo!" before falling into a year of inactivity.

On May 24, 2016, Emphasis was officially disbanded. Angelico Entertainment announced that Yoonah would be staying with the label.

Following Emphasis's disbandment, Yoonah would return to training and join Angelico's pre-debut team, "Angellies." The group would rotate trainees and perform around South Korea. The team would operate on a ranking system voted on by the fans they would garner from their performances and live streams.

Yoonah was a prominent member of the Angellies, often being voted as the fan favorite in their monthly rankings. By the end of the group's run, Yoonah was the second-most-voted fan favorite.

In 2016, Yuuna would officially take on the stage name Baebi.

In 2017, Angellies would be discontinued to prepare for Angelico's new girl group debut.

𝟐𝟎𝟏𝟖: 𝐃𝐞𝐛𝐮𝐭 𝐢𝐧 𝐕𝐄𝐍𝐔𝐒

On March 17, 2018, Baebi would officially debut in VENUS with the release of their first extended play (EP), SHE DEVIL, and its lead single, "SHE DEVIL."

She is the group's leader, main dancer, main vocalist, and lead rapper.

𝟐𝟎𝟏𝟗: 𝐒𝐨𝐥𝐨 𝐝𝐞𝐛𝐮𝐭

In late 2019, Baebi made her debut as a solo artist with the EP Bubble Pop!.  She released her debut extended play (EP), Bubble Pop!, in June 2019. It peaked at number two on South Korea's Gaon Album Chart, and charted atop the US Billboard World Albums. As of 2023, it has sold 360,000 copies in South Korea. 

Bubble Pop! 's commercial success was the main contributor to Angelico Entertainment's leading music sales. The song peaked at number one in South Korea, where it has sold over 2.5 million digital units. To accompany her solo release, Baebi held a series of small concerts called Baebi's Summer Splash. She was awarded Best Female Artist at the 2019 Mnet Asian Music Awards and at the 2020 Golden Disk Awards.

𝟐𝟎𝟐𝟏 - 𝐏𝐫𝐞𝐬𝐞𝐧𝐭: 𝐀𝐜𝐭𝐢𝐧𝐠 𝐃𝐞𝐛𝐮𝐭 𝐚𝐧𝐝 𝐜𝐨𝐦𝐦𝐞𝐫𝐜𝐢𝐚𝐥 𝐬𝐮𝐜𝐜𝐞𝐬𝐬

She made her acting debut in the 2021 Netflix K-drama Squid Game, in which she played Han Doyun, an unpaid intern at an unnamed company, alongside her husband, Han Wonil, played by Jang Kiha of Priority,  who need money to pay off their ever-mounting debt.

Doyun became a fan favorite, and Jung was called Squid Game's breakout star by critics. For her performance on the show, Jung won the Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Drama Series at the 28th Screen Actors Guild Awards.

Baebi has had a controversial relationship with Mydol CEO Son Jinhwa. An anonymous source revealed the pair's relationship to the public in 2022, resulting in a wave of backlash that led to Jinhwa stepping down from his position as CEO of Angelico Entertainment and Baebi going on a brief hiatus. The pair never confirmed their relationship.

In 2023, Baebi would confirm her relationship with Kim Juwon, the lead vocalist of the boy group Priority. The pair had been dating for three years before the announcement, silently putting the rumors of her and Son Jinhwa's relationship to rest. Baebi and Juwon would break up in 2024 after spending five years together.

Baebi has been a vocal mental health advocate, being very open about her struggles with depression and anxiety. She often donates to mental health charities and volunteers at children's hospitals in her spare time.

𝐄𝐧𝐝𝐨𝐫𝐬𝐞𝐦𝐞𝐧𝐭𝐬

In 2019, Baebi became the face of Gentle Monster, a sunglasses and optical glasses brand founded by Hankook Kim, choosing Baebi to represent their brand due to her "hot and cool" image. 

On February 2, 2021, Baebi was announced as the face of Chum Churum, a soju brand under Lotte Corporation.

On March 8, Baebi became the advertisement model of HOT6ix, an energy drink brand under Lotte Corporation.

On April 8, Etude House introduced Baebi as their new brand model.

In September 2022, Baebi became a model for the Japanese bathing suit brand KŌRARU.

Baebi has walked in runways for Burberry, Miu Miu, Jason Wu, Chanel, Schiaparelli, Giambattista Valli, Bottega Veneta, Emilio Pucci, Prabal Gurung, Jacquemus, and Tory Burch. She has also appeared in advertisements for Louis Vuitton, Chanel, Hermès, and Bottega Veneta and on the covers of Vogue Korea, Vogue Japan, CR Fashion Book, and Harper's Bazaar Korea.

[llorom4nn1c]

♡ My indirect opinions on different bands! ♡

I've seen people do this kind of thing on sites like Quora where they'll say their opinions on something and you have to guess what person they're talking about, so I thought I'd try it.

🎀 Band #1:

Best pop punk band ever. Not only do they have one of the best vocalists in the genre, but their music is so timeless. I've listened to my favourite song of theirs hundreds of times over the years and I still get excited every time it comes on. There's a reason why their music is still so critically acclaimed to this day.

🎀 Band #2:

I'm sorry but this band has some of the most delusional fans ever. You guys really interpret everything as a sign that they're recording music together. I know most of it is jokes but just because the bassist posts a photo of his bass, that doesn't mean the band is recording together. He could literally just be playing for fun. I mean I'm dying for new music from them too, but come on.

🎀 Band #3:

This is a soloist, but I still wanted to include her. This person's second album is her best one and is way underappreciated. One of her most popular songs is from this album, but I think there are songs on that album that are far better. The opening track is especially great and I wish she had more songs that were that heavy. I love her pop punk stuff, but I still wish she made more post-grunge albums.

🎀 Band #4:

I really wish this band got more attention. I feel like people used to talk about them a lot during like 2012-2014, but now they've been kind of forgotten. It's really a shame because I love their music. It makes me really sad that a lot of the female-fronted emo and scene bands besides Paramore have been almost forgotten.

🎀 Band #5:

I think this band is an example of a side project that's better than the band that it's derivative of. Their vocalist's original band is also good and I have a few songs from them that I really like, but with this band, I just think their music is a lot more enjoyable. Their first album is probably my favourite dance rock album and I'm really glad that they've reunited.

🎀 Band #6:

I wish other songs by this band were as popular as their biggest one. I understand why it's their biggest, because it is very good, but their other songs are great too and they're still making good stuff to this day.

🎀 Band #7:

I honestly think this person's music is really good and really didn't deserve all of the hate it got when it was released. Everyone said that she was ripping off Avril Lavigne, and while there are definite similarities between their music, I think her music is pretty solid. Her first album is especially good. All of the songs are really catchy and I would love to see more music from her.

🎀 Band #8:

This band is so over hated. People hate on their vocalist for things that he did when he was a teenager, which I always thought made no sense. A lot of people also seem to hate this band because their most recent albums have been generic pop albums, which also doesn't make sense to me. There are people doing way worse stuff, plus you could also just listen to something else. Like the way people talk about their music makes it sound like they're being forced to listen to it, when they're not.

🎀 Band #9:

I think I like this band more as people than actual musicians. I do like their music, but I don't think it's anything that special and I can kind of seen why some people call it generic. Their lead singer is one of the most genuine people I've seen in rock and I loved watching the band's Bryan Stars interviews when I was a new fan. I don't agree with people who say their music is bad (their first album is way over hated btw), but I can see why some people might not like their music that much.

🎀 Band #10:

I seriously do not understand how people listen to this band. I know a lot of people stopped listening to them after the allegations, but their lyrics are still so gross and icky. And the fact that there are people who still listen to this band and post stuff about their lead singer like 'They don't make guys like him anymore' is so gross because most of their lyrical content is about literal grooming and paedophilia. Also, there are most definitely still guys like him out there, the only difference is they aren't hiding behind a scene boy façade.

That's it, byeeeee!! ˚｡⋆୨୧˚♡

[xxstraykidsaikoxx]

ᴀᴋɪø ᴀᴋᴜᴍᴀ (sᴛʀᴀʏᴋɪᴅs)

AKIØ (아키오) is a member of the co-ed 4th gen group "Stray Kids" but was formally a trainee under YG Entertainment and was set to debut with BLACKPINK before being cut due to her young age and simply not being ready to debut at the time. Not wanting to let her talent go to waste, YG recommended her to JYP, and they decided to test her skills and see if she really was an 'ace' as YG proclaimed. Members Bang Chan, Felix, and Minho were there at her evaluation, and first hand experienced her overwhelming talent. After some long hours and days of convincing, Bang Chan convinced JYP that Aiko needed to be apart of the Stray Kids survival show and as per his request, JYP gave in and decided to let her be apart of it.

STAGE NAME: AKIØ (아키오)

BIRTH NAME: Aiko Shimura (志村愛子)

KOREAN NAME: Soo-ho (수호 시무라)

ENGLISH NAME: Azzy Shimura

POSITIONS: Vocalist, Rapper, Maknae

BIRTHDAY: April 17, 2002

ZSIGN: Aries

HEIGHT: 157cm (5'2)

MBTI: INTP---->ISTP

REPRESENTATIVE ANIMAL: Black Panther

UNIT: VocalRacha

NICKNAMES: YG's Secret Weapon, 4th Gen Siren, Fearless Maknae, Demon of K-POP

INSTAGRAM: akiø.akuma

YOUTUBE: whosakiø.__.

AKIØ FACTS:

• Aiko was born and raised in Tokyo, Japan until she moved to Houston, TX at 5 before moving back to Japan at 10

• At 10 she was kicked out of her home by her mother after a heated argument

• After attempting to finish middle school, she decided to drop out due to her mental health

• At 12, she auditioned for YG and got accepted

• While at YG, she trained with the members who would eventually become BLACKPINK

• Aiko looked up to them and the PINKS treated her like their younger sister

• Has the second longest training period among Stray Kids (2014-2017)-(2017-2018)

• Aiko's SKZOO character is KURO a black panther cub that sometimes comes with a blue bowtie

• Aiko's hair is really long and she's always had it dyed the tips of her hair since she debuted at JYP and she's tried to match the color of her hair with every comeback

• She has a German Shepherd named Clover and Pre-debut she had a dog of the same breed named Ryuko

• Because of Aiko's language skills and being fluent in most of them, her pronunciation in singing songs in those languages (i.e eng, jpn, & kor.) are very good which makes her vocals stand out more

• Her dancing is in no way terrible, she can easily keep up with most of the talented female dancers in the industry, but when it comes to dances with her members is where she gets mixed up. Being the only girl in the group, she has to work harder to learn the choreo.

• Aiko revealed in a live that her stage name if she would've debuted with BLACKPINK would've been 'AKUMA', and the PINKS still sometimes call Aiko by her old stage name

• Among the members her nicknames include: Ai, Shortie, Gen Z representative

• Is a member of Paboracha by default since she dropped out of middle school which her members like to joke about

• Would've possibly debuted with ITZY if Chan didn't call for Aiko when he did

• Besties with half the industry due to her friendliness

• While living at the dorms, she'd wake up at 6am every morning without fail and head to the JYP practices rooms to workout and practice

• Best english speaker along with channie and felix and they're jokingly refered to as 'EnglishRacha'

• Occasionally does lives where she either watches shows or movies, plays games, or dance practices with Hyunjin

• It was revealed that out of all the members, Ai is the one that swears the most, which comes as a surprise to many since she's so quiet on camera

• Has an iconic 'annoyed' look STAYs like to joke about

• Despite their rivalry, Minho revealed that Aiko is the most selfless member and will do anything to make someone happy

• A picky eater but if someone made food for her she'll eat it

• Helped write some of SKZ more emotional songs such as '#LoveSTAY', 'Silent Cry', and more recently 'Youtiful'

• Although her MBTI is ISTP, she is more loud and energetic when around the other members, close friends, and STAYs, which causes her to be an introverted extrovert

• When a STAY asked over bubble for a spoiler for the 'ending' of SKZ lore, she responded with '💀' which led to speculate that her 'character' AKIØ will die

• In 2020, she collaborated with BLACKPINK on their track, "Lovesick Girls" which reunited the old trainee friends

• While filming the MV for Lovesick Girls, she accidentally called ROSÉ 'oppa' since she was so used to filming with her members instead of girls

• Channie said it himself that Aiko has the best stage presence out of them all, and refers to it as 'YG stage presence' since Aiko still has the mentality of being a YG trainee

• When asked about her favorite MV among SKZ, she revealed that VENOM was her favorite since she finally got to rap and be a villain

• Her favorite era is NOEASY era since her hair was blue and her first solo 'HWAA' was released

• Aiko admitted in a live that her relationship with JYP is a little strained since the survival show when he eliminated Minho and Felix

• During May of 2023 it was revealed that Hyunjin and Aiko have been dating since 2020 which sparked chaos with STAYs, some being supportive and some being toxic, but even so the two seem to be unbothered

ᴍᴀsᴛᴇʀʟɪsᴛ

[taste-in-music]

My Top 30 Songs of 2023

Hello everyone! Welcome back to my annual countdown of my 30 favorite songs of the year. 2023 had a lot of great music releases, and I’m so excited to recount the songs I returned to this year. And now, let us commence with the list!

Here are 10 additional honorable mentions: "Wide Eyes" by Loviet, "I Cry When You Sleep" by Pearly Drops, "Dreamgirl" by Father Koi, "My Love Mine All Mine" by Mitski, "Batman Song" by Cat Missal, "The Neighborhood" by Grace Enger, "I Been Young" by George Clanton, "Bright Red" by Ryan Beatty, "Dumbest Girl Alive" by 100 Gecs, and "The Narcissist" by Blur.

30. Angora Hills by Doja Cat: “Angora Hills,” a hit off Doja Cat's latest album Scarlet, is airy yet effortlessly self-assured, trading between quick-spit rap verses and a chorus of kitteny coos. But don’t get too lost in the sparkling keys and cutesy voicemails. There’s a spark, an edge, a darkness lurking in the murky bass and ominous synths which lends the song a greater intensity. “'Cause love is pain but I need this shit,” Doja Cat raps on the second verse, playing out cleverly rhymes romantic fantasies with an exhibitionist spin. “I wanna show you off,” she suggests on the song’s chorus, the red-hot desire roiling just beneath the surface.

29. Slut! by Taylor Swift: I think everyone was a little surprised hearing “Slut!,” the first vault track on 1989 (Taylor’s Version). When I first saw that title, I thought I was in for a catchy package of sassy one-lines and circa-2014 pop feminism. Instead, we got a tenderhearted ballad of wispy synths and Swift’s insightful musings on love in the limelight. Commentary does creep in (“Everyone wants him, that was my crime,”) but Swift focuses more on choice imagery of a love worth risking it all for: aquamarine swimming pools, thorny roses, and lovedrunk confessions. Sometimes, the most defiant thing is knowing that no matter how people might try to strip you of dignity, they’ll never be able to take your love away from you.

28. Nothing Matters by The Last Dinner Party: All-female British rock outlet The Last Dinner Party made a splash in 2023 with their confrontational yet exuberant debut single “Nothing Matters.” For a song with such a nihilistic title, it packs a punch of gravitas and a wry sense of humor. Lead vocalist Abigail Morris knows just when to heighten the melodrama, stretching the word “sailor” into “say-lahr” and belting the final refrain to the high heavens: “You can hold me like you held her / And I will fuck you like nothing matters.” In the music video, the group stomps around a gothic mansion in frilly petticoats and leather boots, tearing up feather mattresses and lip synching down to a camera positioned six feet deep in a grave. It all exhibits a keen ability to balance out the toughness with a cheeky wink, making it clear the group is only just getting started.

27. Running Out Of Time by Paramore: Much of Paramore’s sixth album This Is Why tears into the absurdity and stress of modern life. On “Running Out Of Time,” Hayley Williams captures the breakneck speed of life accelerated by packed schedules and the 24 hour news cycle, describing a self-destructive ouroboros of trying to catch up with the clock, doing her best to do good and always coming up short. “Intentions only get you so far,” she sings, “What if I’m just a selfish prick…?” It captures the stress and self-doubt, but also the conviction to keep moving forward despite it all. Williams provides a spirited performance as always, her vocals cutting through a pop rock groove that provides just enough energy to keep you from falling down the doom spiral completely.

26. Designated Driver by Taylor Janzen: Taylor Janzen’s debut album I Live In Patterns offered up several tracks which balanced heartfelt lyrics with propulsive pop flourishes, but it was “Designated Driver” that maintained the most momentum for me throughout this year. Atop a steady thrum of shimmering synths, Janzen unpacks her mixed feelings on being the "dependable friend," cracking under the pressure like a windshield. As the song builds, Janzen unveils the self-doubt eating away at her, where the raw emotions draw the other person in to detrimental effect: “you put your trust in a daydream / ’cause you love this dying part of me.” Janzen has the acute ability to put language to even the most obscure shades of anguish and giving them a more anthemic spin. “Designated Driver” is the song you can blast to get you through the grief, even as the toxicity shrinks away in the rearview.

25. One Of Your Girls by Troye Sivan: “One Of Your Girls” is a song so smooth that it’s easy to miss the melancholy which saturates its sparkling chords and clever lyrics. Troye Sivan taps into unrequited desire atop a lush, bassy thrum, describing a love interest who “everybody wants,” but who needs to keep their queerness covert. Sivan ushers in the song’s sing-along chorus with a languid sigh, glazing his voice in vocoder to keep the ache at bay: “Give me a call if you ever get desperate," he relents, "I'll be like one of your girls.” Pair it with a gender-bending music video, and you’ve got a song that delves into just how far a person might go obscure the hurt and save face.

24. I Need A New Boyfriend by Charly Bliss: It’s been four years since Charly Bliss’s last album Young Enough, and in 2023 they blasted back onto my radar with the scuzzy, snarky single “I Need A New Boyfriend.” This time, Charly Bliss sprinkle their anthemic rock sound with a touch of hyperpopping, bleep-blorping synths and churning electric guitars. Frontwoman Eva Hendricks laments her loser lover who grouches through parties and gives backhanded compliments, her observations both witty and scathing: “It took me three years but I finally figured it out / I’m just too fun for him,” “’Cause even though we had a five year plan / I couldn’t stay with him another minute.” By the song’s riotous end, you’ll also have the conviction to kick such soul suckers to the curb.

23. Feather by Sabrina Carpenter: It’s rare that a bonus track from a deluxe edition from an album is the source of a pop artist’s ascent to stardom. Rare, but not impossible. Case and point: “Feather,” the floaty bonus track from the deluxe edition of Sabrina Carpenter’s fifth album emails I can’t send. A downy kiss-off about leaving an ex in the past, Carpenter dreamily narrates the steps to her ghosting process over a softly strut beat of key glissandos and memorable ad-libs. It’s the humorous side of “Feather” that makes it a notable hit in Carpenter’s catalogue, the touches of sarcasm cut through the sweetness and showcase her multifaceted charisma as a performer. That little chuckle she lets out as she says “I’m so sorry for your loss” is the stuff superstars are made of.

22. LEFT RIGHT by XG: There was a handful of weeks back in the spring where every iota of my brain space was taken up by XG. The global girl group broke through with videos of the group’s rappers adding their own verses onto iconic modern beats, (group leader Jurin’s verse over ROSALÍA’s “SAOKO” is a bop and a half.) In a departure from the bombastic samples and in-your-face performances of those videos, XG takes a subtler approach on “LEFT RIGHT,” an ebullient blend of R&B and pop that goes down easy but has the same insidious ability to get stuck in my head. The lyrics are goofy yet earnest enough to make up for it. This boy has the narrator’s heart “Spinnin’ round and round / Just like my Pirellis, burning on the ground.” When a love is so strong it can pull you any direction, you’ve got no choice but to kick into gear and let the vibes carry you away.

21. Hummingbird by Metro Boomin ft. James Blake: When I took my seat in the theater to watch Spiderman: Across the Spider-Verse, the second installment in Sony’s stunning animated superhero franchise, I knew the music was going to slap, (the needle drop for “What’s Up Danger” from the first movie is one of my all-time favorites.) While the soundtrack has many a banger, it was ultimately the tender hearted “Hummingbird” that I latched onto. James Blake lends his silky soft vocals to wistfully pine for a love that always remains just out of reach. Metro Boomin elevates the distance Blake describes with spacious and spacey production, dappled with piano and a chirpy sample of Patience & Prudence's "Tonight You Belong to Me." It’s a love song that spans time and space, across the Spider-Verse and well beyond.

20. Patty's Diner by Upstate: “Patty’s Diner” by Upstate came to me via a recommendation from a friend, (shoutout @bellamysgriffin) and I don’t know whether to thank or throttle her for it, because it’s one of the most potent tearjerkers I’ve heard in recent memory. Upon my first listen, I found the song to be starkly understated, nothing but a plucked guitar and traded verses from both lead vocalists. The central character is Patty, a diner owner who passed away from cancer. Now, her memory lives on in late-night radio commercials and fading recollections of her kindness, all recounted with a melancholy shrug. In its staggering simplicity, “Patty’s Diner” captures something potent about the grief we hold for loved ones: it can come with a smile as well as tears. Take a page from Patty’s book and keep pushing forward. What else are we supposed to do?

19. There It Goes by Maisie Peters: On her sophomore album The Good Witch, Maisie Peters writes a lot about the breakup experience. A whole number of spunky kiss-offs from that record could’ve landed on this list, but as the autumn chill locked in for the final months of the year, I found myself more and more drawn to the album’s penultimate moment of reprieve. “There It Goes” shows Peters letting go of the relationship by pivoting towards self-improvement. Atop a warm strummed guitar groove, she lists off the steps to reconnecting with her friends and herself: going to yoga class, reading novels, stumbling through the streets of Stockholm. Much of The Good Witch focuses on the thunder of emotions which come from heartbreak. “There It Goes” is the calm after the storm. It demonstrates the much harder to describe but no less essential development that happens after growing apart: growing up.

18. Only Love Can Save Us Now by Kesha: On her latest album Gag Order, Kesha pivoted from the party anthems that put her on the map in favor of a sparer, darker sound. Then halfway through the album, “Only Love Can Save Us Now” swings in to prove that Kesha can still serve up a barn-burning banger if she wants, and thank god she does. On “Only Love Can Save Us Now,” Kesha unloads a list of unapologetic declarations over a typewriter-clack beat, each line wry and searing: “Yeah, I'm possessive / Maybe I'm possessed, bitch / Fuck yeah, I'm selfish / Shut up, eat your breakfast.” The chorus kicks in with a rollicking guitar, gospel choir, stomping drums, and jangly pianos which all lend a folksy intensity. “I don’t got no shame left,” Kesha sings in the song’s final moments, “Baby, that’s my freedom.” It’s a moment of deft catharsis on an album so heavily defined by what it holds back, a defiant invitation to exorcise your regrets and then invite your demons to come and join the dance party.

17. Mother Nature by MGMT: It’s been five years since MGMT’s last album Little Dark Age, and it feels like I’ve lived a whole lifetime since then. “Mother Nature,” the lead single off their fifth album Loss of Life, shows that MGMT have seemingly grown as much as I have. The song is warm and welcoming, built from sunshiny strummed guitars I’d usually expect from Alex G or Big Thief. But the stargazing, larger-than-life scope of the group’s past work remains, merging the mundane with the magical. “I wrote the fairytale on the midnight drive,” Andrew VanWyngarden sings in the song’s opening moments, “Wanting to know if I'm more than alive.” The rest of the song walks this line between enchantment and ennui, alluding to a greater darkness looming just beyond the horizon. The bridge makes a swing for the anthemic, describing a castle siege over scuzzy wails of distorted synth, a last swipe for hope “before the fantasy is cast into the fire.” I can’t wait to hear how “Mother Nature” fits into Loss of Life, but it’s a song that is determined to live life to the fullest, even in the most barren of landscapes.

16. brrr by Kim Petras: Over the past few years, Kim Petras has become one of the pop landscape’s most audacious players, knowing when to wallop her listeners with unrestrained discussions of sexuality and when to play it coy. She finds a perfect balance between these realms on “brrr.” Built off a beat of squelchy synths and throbbing bass, “brrr” is equal parts daring and alluring. Petras addresses a love interest who puts up thick walls of ice around their heart and makes it clear that she sees right through the charade. “I’m not one to be afraid,” she lilts teasingly on the pre-chorus. Instead of being put off, she buys in, the implication clear as she delivers the title line with a wink and a smirk: “...you think you’re so cold, brrr.” Leave it up to Petras to make even the iciest of imagery steamy as hell.

15. labour by Paris Paloma: It starts with a low male voice, way back in the mix, counting her in on four. Then, the storm clouds roll in. On social media, “labour” by Paris Paloma has been deemed an anthem of female rage, but unlike the immediate, memetic quality of its viral peers, “labour” understands that rage needs time to simmer before it explodes. Paloma airs out every grievance of how this women’s work batters us in body, mind, and spirit, ruthlessly recounting bursting capillaries, cracked skin, every bullshit archetype and patriarchy-serving expectation thrown our way. Paloma knows that at the end of the day, no amount of spectacle could hit harder than the all-too-simple truth at the song’s core: “It’s not an act of love if you make her / you make me do too much labour.” Her vocals layer and layer until the final chorus slams into you like a tidal wave of anger, and by the song's final moments, Paloma has made the narratives made to hold us back into something wholly her own.

14. Nymphs Finding the Head of Orpheus by Nicole Dollanganger: Of all the tales Nicole Dollanganger spins on her album Married In Mount Airy, “Nymphs Finding the Head of Orpheus” is by far one of the most elusive. Dollanganger offers up a foreboding atmosphere of feather-light strings and dark ambient reverb. The imagery centers on rebirth, the baptismal potential of a tepid pool, bodies reclaimed by nature. It has little to do with the gory bacchanal of the mythical moment in the title, but the insinuation remains, seeping in at the seams to suggest violence and regeneration as potentially interconnected. On an album so concerned with all the evils of men, perhaps the most terrifying thing of all is what lies beyond our standard perception of human actions, of nature locked in shadow. On "Nymphs Finding the Head of Orpheus," Dollanganger offers a glimpse of this disembodied face in the darkness, one  we’ll never be able to truly know.

13. Sandrail Silhouette by Avalon Emerson: "Sandrail Silhouette" opens DJ Avalon Emerson's album & The Charm, reintroducing a new side of her craft. A departure from the electronic spin of her past work, the song feels organic yet gleaming, constructed of a move-and-shaker groove of rich strings, shuffleboard keys, and gloaming skids of bass. Emerson’s vocals waft over the landscape with the calming timbre of someone telling a bedtime story, stringing lyrics together like beads on a friendship bracelet. It’s an environment that’s easy to get lost in, so much so that it hit November before I even bothered to ask, what even is a "sandrail silhouette?" I have no clue, but it’s not so much about the words themselves as it is about the feelings they evoke, a wistful nostalgia that is aching yet hopeful. This feeling comes across in obtuse details (“Go ask a sequoia”) and stunning clarity alike (“Tell me I got more time / When all my friends are having daughters.”) Like the yearning for the past Emerson describes, my love for this song is hard to put into words. It’s easier to just sit back and let myself feel it.

12. WHAT A MAN by DEBBY FRIDAY: “WHAT A MAN” by DEBBY FRIDAY simply slams so fucking hard. I don’t know what else to say. From the very first listen I came to immediate conclusion that it slammed into oblivion and was one of my favorite songs of 2023. "WHAT A MAN" unfurls like an erotic noir thriller, all churning bass and musings on a love that’s slipped the narrator’s fingers. DEBBY FRIDAY’s lyrics are obtuse yet evocative, contributing to the seductive atmosphere: “I held a heart / It wasn’t mine / When he came looking / I wasn’t kind.” Stacks of escalating synths ratchet up the tension until all hell breaks loose on the back of a scorching electric guitar solo that’d make Andrew Lloyd Weber’s Phantom of the Opera jealous he didn’t come up with it first. It’s the kind of song that rips loose and is over all too fast, asking for forgiveness in the aftermath of ruin, and never, ever permission.

11. Top Dog by Magdalena Bay: Hands down the best pop song of the year to reference Laura Dern, a race that should by all means be a lot more competitive than it is. From its opening references to the actress, synth pop duo Magdalena Bay make it clear that this isn't a song where they're going to be taking themselves too seriously. Everything about "Top Dog" oozes lackadaisical confidence, all with a cheeky wink to the listener. Against a backdrop of strummed guitars, they pepper in samples of cameras snapping and, fittingly, dogs woofing. Not only that, but they also add in a healthy dose of aughts nostalgia with a synth palette that feels directly pulled from dial-up bleeps, Motorola ringtones, and 8-bit power-ups. Mica Tenenbaum’s vocals are a pitch-perfect balance of airy nonchalance and self-satisfaction, traversing through the goofy canine metaphors without once sounding like she’s forcing a punchline to land. It makes for a song that’s loopy, loping, and effortlessly fun.

10. Honey by Samia: It’s hard to pin down what makes the title track of Samia’s sophomore album so special. “Honey” is subtle yet anthemic, an ever-growing conviction coming into fruition over the song’s duration. “I’m not scared of sharks / I’m not scared to be naked / I’m not scared of anything,” Samia sings in the song’s opening moments, going on to narrate a continual climb towards self-confidence and determination. My favorite detail is the gradually growing backing chorus which appears and reappears with more intensity with each new iteration of the song’s main refrain. “It’s all honey,” Samia repeats, over and over at the song’s close. All the times I’ve listened to this song, and I still haven’t pinned down an exact meaning for that line, but maybe that’s the point. The nonchalance, the uncertainty, the acceptance that no matter where life takes us, it's sure to be sweet.

9. Welcome To My Island by Caroline Polachek: In the opening moment of Desire, I Want To Turn Into You, Caroline Polachek shows off the titanic potential of her voice, letting out a dexterous, breathtaking belt that warps and careens into the stratosphere. Even if the song was just comprised of its first thirty seconds, it’d probably still be on this list. But then, of course, there’s the rest of “Welcome To My Island,” a facetious introduction to the sonic space Caroline Polachek will go on to explore over the rest of the album. Over a glimmering, twitchy beat, Polachek half-raps, half-belts a series of pitches for her personal paradise of waving palm trees and placid oceans. On the song’s bridge, she gets more vulnerable, revealing the pathos amongst the phthalo blues: “I am my father’s daughter in the end,” she sings like she’s on the brink of tears, “no nothing’s gonna be the same again.” But when the groove snaps back over an outro of brassily tuned guitars and defiantly chanted “hey hey hey”s, it’s clear that Polachek’s island is worth booking an extended stay, self-doubt be damned.

8. bad idea right? by Olivia Rodrigo: “bad idea right?,” the second single on Olivia Rodrigo’s sophomore album GUTS, followed on the heels of operatic ballad “vampire” by not following it at all. Like the preceding sophomore single “deja vu,” it’s snarkier, wonkier, and (in my opinion,) way more engaging. While Rodrigo undeniably knows how to pen and pull off a dramatic power ballad, her comedic chops deserve recognition too. On “bad idea, right?” she chattily recounts a night of terrible decision making, tossing out hilarious, memorable one-liners at a dizzying rate: “…you're callin' my phone, you're all alone / And I'm sensing some undertones,” “I only see him as a friend / (The biggest lie I ever said,)” “I just tripped and fell into his bed.” The production ups the ante with a strutting bassline, ad-libs which drive every line home like Rodrigo’s inner monologue coming to life, and a squealing guitar solo in the song’s back end. " All in all, "bad idea right?" captures the tumultuous clownery that having a crush conjures up, self-aware embarrassment colliding with lovesick horniness that makes you look a wealth of poor choices the eye and brush it off with a “fuck it, it’s fine.”

7. Echolalia by Yves Tumor: Echolalia is baby babble, the sounds humans make when they don’t have a grasp on language, but still need to communicate some innate need. On their latest album Praise A Lord Who Chews, But Which Does Not Consume (Or, Simply, Hot Between World,) Yves Tumor taps into these primal urges, transmogrifying them to a cosmic level through the medium of phychedelic rock. Such is the case on slow burning second single “Echolalia,” a hazy whirlwind of devotion and desperation. “Looked up to god,” they sing in the first verse, “You looked so good.” Tumor’s voice stays in their husky lower register, gritted out with hushed intensity over an alluring blend of gleaming synths, burning bass, and heaving breaths. “The way I’m thinking, is this unnatural?” they inquire in the song’s final moments, then lay their hesitations to waste in the heat of the moment, “you look so magical." At its most intense, “Echoloalia” strips away the set dressing of pretty words and veneers, unveiling the desire, hunger, and everything that simmers just below the surface, begging to break free.

6. Casual by Chappell Roan: I’ve long bemoaned how many a great pop album has been brought to a screeching halt by a ballad haphazardly thrown in to make things more “emotional.” A pop artist holds genuine promise to me when they’re able to clear this hurdle and make an album’s slower moments just as compelling as the bops. I'm glad to announce that Chappell Roan pasts this test with “Casual,” a mid-album on her debut album The Rise and Fall Of A Midwest Princess. On "Casual," slower pace of the song provides space to let Roan's simmering frustrations with a one-sided situationship reach a breathtaking boiling point. Roan pines for something more official with a girl who insist on having “no connections,” pointing to front seat cunnilingus sessions and dinner dates with her maybe-belle’s parents as proof that they're much more than a casual fling. Eventually, Roan just can’t take it anymore. “I hate that I let this drag on so long,” she confesses at the top of her lungs, “you can go to hell.” It’s testament to Roan’s promise as an emergent pop force that she can establish compelling stakes which make the emotions of her ballads tangible, never skippable.

5. A&W by Lana Del Rey: I already gushed about “A&W” back in March for how it showcases Lana Del Rey’s versatility as a performer, her veracity as a lyricist, and her astuteness in curating her personal history. As the year progressed, “A&W” kept pulling me back into its tumultuous depths, trying to parse its meaning and always falling just a bit short. Over the course of the song’s two-part structure, Lana Del Rey deftly maps a trajectory from childhood innocence to reckoning with how the world will wolf women down without mercy, their physical bodies exploited as their humanity goes unseen. “It's not about havin' someone to love me anymore,” Del Rey states, “No, this is the experience of bein' an American whore.” Lana Del Rey has grappled with these themes of for her whole career, walking the line between nostalgic recollection and ironic deconstruction, but on “A&W” they sharpen into focus and hit both the heart and gut like never before. That switch up into the second half of the song still sends a chill down my spine every time it’s ushered in on the back of those skittering trap drums and roiling bass. “A&W” is everything that makes Lana Del Rey Lana Del Rey, it's alluring, eerie, it’s Venice, bitch, and it’s one of her best songs, period.

4. Boy's a Liar Pt. 2 by Pinkpantheress ft. Ice Spice: When I listen to “Boy’s a Liar Pt. 2” by Pinkpantheress featuring Ice Spice, I feel the popular music landscape shifting beneath my feet. A strange thought to have about a song that’s so pointedly small in scope. Even with the Ice Spice verse extending the length of “Boy’s a Liar,” the song just barely exceeds two minutes. Given such restrictions, the amount of detail both artists manage to cram in is nothing short of impressive. Pinkpantheress jam-packs the beat with bouncy synths and a drum pad which races like a fluttering pulse. Ice Spice spends most of her verse telling off the useless titular liar, but adds in a one-two punch of vulnerability near the end with a heartened confession: “…I don't sleep enough without you / And I can't eat enough without you / If you don't speak, does that mean we're through?” “Boy’s a Liar Pt. 2” is more than just a rare remix that exceeds the quality of the first installment. It’s the bona-fide hit of the TikTok generation that feels fully born of the app’s tendencies, it’s mile-a-minute pacing, nostalgic skew, casual intimacy, and brutal honesty all rolled up into an inescapable earworm. I’d take part three in a heartbeat.

3. Psychedelic Switch by Carly Rae Jepsen: Throughout her career, Canadian pop connoisseur Carly Rae Jepsen has captured love from all angles, rendered its scope of e•mo•tion in a slew of shades. “Psychedelic Switch” off her latest album The Loveliest Time shows her setting the disco ball to spin, covering the entire spectrum of light and color in one go. Over a pulsing, dance-floor ready beat, she swirls together metaphors with the precision of a gourmet mixologist, taking odds and ends of all things dreamy to capture the onset of a whirlwind romance. This love is like a psychedelic trip. It’s like lucid dreaming. It’s like meditating. It’s sunsets and paradise and coming home. It's the all-encompassing rush of euphoria that only pop music can capture. Jepsen finishes off the concoction with a dash of sighing violins, a twist of bass throbbing like a heartbeat, and a couple drops of reverb-washed ad-libs. Every one of Jepsen’s album cycles has the fan-favorite standout to add to her growing canon, and from the very first listen I knew “Psychedelic Switch” had cemented itself within her ranks of cult classics.

2. Not Strong Enough by boygenius: When Lucy Dacus, Phoebe Bridgers, and Julien Baker announced their first full-length project as the singer-songwriter supergroup boygenius, the record, (the record,) had the aura of something larger than life, a culmination of three generational talents celebrating their chemistry as collaborators. If there is any song on the album that captures this magic, it’s “Not Strong Enough,” a song which burst out of the gate sounding like an instant classic. “Not Strong Enough” chronicles the search for identity amidst uncertainty, the line “I don’t know why I am / The way I am” may just be its driving force. And boy does it drive, as the singers search for clues listening to The Cure while drag racing down canyon highways, skipping old exits, roving out in search of a meaning that may never materialize. This freedom and frustration culminate on the bridge, where Dacus’s mastery of vocal dynamics takes center stage. “Always an angel / Never a god,” she sings, starting off with a whiff of timidity before escalating to belt it up to the heavens, backed up with stunning harmonies from her peers. An angel may only ever be second-best, only ever identified through its relation to a higher power, but that just makes the journey towards self-actualization more transcendent.

1. Sepsis by Blondshell: For the longest time, I was determined to put any other song but “Sepsis” at the number one spot on this list. Initially, my pick from Blondshell’s self-titled debut was “Kiss City,” an amazing song, but sadly not the one I played over and over, screaming along because the lyrics hit too damn close to home. Much of Blondshell grapples with addiction, and on “Sepsis,” Sabrina Teitelbaum explores how the validation one gets through situational flings is one hell of a drug. Atop the ebb and flow of electric guitar, she interrogates the tendency to keep returning to a man she should be avoiding, a dick with a front-facing cap who’s bad in bed. Still, she keeps coming back, pissed therapist be damned, because “if I’m in love, nothing hurts.” Teitelbaum hones these observations through the metaphor of curing ailments and fast-acting sickness, “he’s going to start infecting my life / it’ll hit all at once like sepsis.” It’s a metaphor which exposes how self-destructive these habits are. “What if I’m down to let this kills me?” she howls at the apex of the bridge before, the sentence slurring into a frustrated scream as the entire song tumbles back into a cavalcade of fiery chords. If there’s anything “Sepsis” and my relationship to it proves, it’s that confronting these unhealthy habits is difficult, but essential. Sometimes, you’ve got to recognize that these coping mechanisms aren’t a “cure” and are only “making it worse.” It’s only then that true healing can begin.

Thank you so much to anyone who has interacted with this blog over the past year. I hope you all are having a happy holiday season!. My top 10 albums list should be out soon. See you then!

[warningsine]

Tony Bennett, the American pop and jazz singer who became the torchbearer for the Great American Songbook during a seven decade career, has died aged 96, his publicist said on Friday.

Bennett was perhaps best known for his 1962 signature song I Left My Heart in San Francisco as well as for staging an astonishing career comeback during the 80s and 90s that delivered him sustained popularity into old age. He won 18 Grammy awards, including a lifetime achievement award in 2001, and has sold more than 50m records worldwide.

In 2020, it was announced that he had been diagnosed with Alzheimer’s in 2016. He wrote on Twitter: “Life is a gift – even with Alzheimer’s.” It was revealed that while his cognitive function was impaired, he was still able to sing a whole range of his repertoire.

Bennett’s ability to perform across the genres of pop, big band and jazz won him plaudits and a conveyor belt of willing collaborators. He proved his relevance in 2014 by collaborating with Lady Gaga on the album Cheek to Cheek, which saw the pair tackle a series of jazz standards. It was a No 1 record in the US and made Bennett the oldest living act to reach the top spot, a record he already held thanks to his 2011 album Duets II.

Born Anthony Dominick Benedetto in 1926 to Italian immigrants, Bennett had an impoverished upbringing in Queens, New York. His father died when he was 10 years old, although he was already singing professionally by that point. As a teenager he became a singing waiter, earning money for the family before enrolling to study music and painting at New York’s School of Industrial Art.

Bennett was drafted into the US army in 1944 to fight in France and Germany during the final year of the second world war. It was an experience that scarred him. “It’s legalised murder,” he said during a 2013 Guardian interview.

But he continued to sing while in Germany as part of the occupying force, and in 1949, after returning home, his singing career could begin properly, first under the name Joe Bari and then as Tony Bennett.

His breakthrough came in 1951 with his first No 1, Because of You. The hits continued throughout the decade with songs such as Blue Velvet, Rags to Riches and material that looked towards the swinging sound of his childhood hero Frank Sinatra. Bennett became a teen idol, and when he married his first wife, Patricia Beech, in 1952, 2,000 female fans dressed in black to “mourn” the event outside the New York ceremony.

In 1962 he reached superstar status thanks to his version of the 1953 song I Left My Heart in San Francisco. The song won Bennett two Grammy awards and became a 20th-century pop standard.

Bennett’s style, however, was already looking outdated as the British invasion swept the US charts, and he struggled for relevance during the 1960s. The following decade saw him face a number of personal problems, including the end of his second marriage and serious drug addiction. Yet two albums recorded with pianist Bill Evans would be key to his later re-emergence as a central figure in US music.

The turning point in his life came when Bennett hired his son Danny to be his manager. Ditching the Las Vegas circuit for New York and reuniting with his early 60s pianist and musical director Ralph Sharon proved to be masterstrokes. His 1986 comeback album, The Art of Excellence, was a hit from which he never looked back. Perfectly Frank (1992) – a tribute to his idol Sinatra – topped the US Billboard’s jazz charts, while 1994’s MTV Unplugged saw Bennett win a Grammy for album of the year. Bennett became a fixture on the late-night TV circuit and collaborated with a host of artists such as kd lang, Amy Winehouse, Queen Latifah and Diana Krall, which helped maintain his relevance with younger artists. His 2006 album, Duets: An American Classic, featured appearances from Paul McCartney, Elton John and George Michael.

Bennett was drafted into the US army in 1944 to fight in France and Germany during the final year of the second world war. It was an experience that scarred him. “It’s legalised murder,” he said during a 2013 Guardian interview.

But he continued to sing while in Germany as part of the occupying force, and in 1949, after returning home, his singing career could begin properly, first under the name Joe Bari and then as Tony Bennett.

His breakthrough came in 1951 with his first No 1, Because of You. The hits continued throughout the decade with songs such as Blue Velvet, Rags to Riches and material that looked towards the swinging sound of his childhood hero Frank Sinatra. Bennett became a teen idol, and when he married his first wife, Patricia Beech, in 1952, 2,000 female fans dressed in black to “mourn” the event outside the New York ceremony.

In 1962 he reached superstar status thanks to his version of the 1953 song I Left My Heart in San Francisco. The song won Bennett two Grammy awards and became a 20th-century pop standard.

Bennett’s style, however, was already looking outdated as the British invasion swept the US charts, and he struggled for relevance during the 1960s. The following decade saw him face a number of personal problems, including the end of his second marriage and serious drug addiction. Yet two albums recorded with pianist Bill Evans would be key to his later re-emergence as a central figure in US music.

The turning point in his life came when Bennett hired his son Danny to be his manager. Ditching the Las Vegas circuit for New York and reuniting with his early 60s pianist and musical director Ralph Sharon proved to be masterstrokes. His 1986 comeback album, The Art of Excellence, was a hit from which he never looked back. Perfectly Frank (1992) – a tribute to his idol Sinatra – topped the US Billboard’s jazz charts, while 1994’s MTV Unplugged saw Bennett win a Grammy for album of the year. Bennett became a fixture on the late-night TV circuit and collaborated with a host of artists such as kd lang, Amy Winehouse, Queen Latifah and Diana Krall, which helped maintain his relevance with younger artists. His 2006 album, Duets: An American Classic, featured appearances from Paul McCartney, Elton John and George Michael.

Singing was not Bennett’s only artistic pursuit. His paintings, produced under his birth name, are on display at the Smithsonian Institution and the Butler Institute of American Art. In 2001, he founded the Frank Sinatra School of the Arts in Queens, New York which offers qualifications in fine art, dance, vocal and instrumental music, drama and film.

A lifelong Democrat, Bennett was also a supporter of the civil rights movement who participated in the 1965 Selma to Montgomery marches and refused to perform in apartheid-era South Africa.

Bennett remained determined to perform into his later life. Shortly after his 90th birthday he told the New York Times: “I could have retired 16 years ago, but I just love what I’m doing.”

[lovesongbracket]

Reminder: Vote based on the song, not the artist or specific recording! The tracks referenced are the original artist, aside from a few rare cases where a cover is the most widely known.

Lyrics, videos, info, and notable covers under the cut. (Spotify playlist available in pinned post)

Just Like Heaven

Written By: Pearl Thompson, Boris Williams, Lol Tolhurst, Simon Gallup & Robert Smith

Artist: The Cure

Released: 1987

“Just Like Heaven” was the third single from Kiss Me, Kiss Me, Kiss Me It was inspired by a trip Robert Smith took with his then-girlfriend (future wife) Mary Poole to Beachy Head at East Sussex. Smith told Blender in 2003: “The song is about hyperventilating – kissing and fainting to the floor. Mary dances with me in the video because she was the girl, so it had to be her. The idea is that one night like that is worth 1,000 hours of drudgery.” “Just Like Heaven” was The Cure’s first top 40 hit in the US. It also reached the top 40 in France, New Zealand and the UK. In the summer of 1992, Smith called it “the best pop song the Cure has ever done.” Per Robert Smith – about how the band’s girlfriends influenced the music – “I’ve never been a big fan of irony. The girls would sit on the sofa in the back of the control room and give the songs marks out of 10. So there was a really big female input.”

[Verse 1] "Show me, show me, show me how you do that trick The one that makes me scream", she said "The one that makes me laugh", she said And threw her arms around my neck "Show me how you do it, and I promise you I promise that I'll run away with you I'll run away with you" [Verse 2] Spinning on that dizzy edge Kissed her face and kissed her head Dreamed of all the different ways I had to make her glow "Why are you so far away?", she said "Why won't you ever know that I'm in love with you? That I'm in love with you?" [Refrain] You, soft and only You, lost and lonely You, strange as angels Dancing in the deepest oceans Twisting in the water You're just like a dream You're just like a dream [Verse 3] Daylight licked me into shape I must have been asleep for days And moving lips to breathe her name I opened up my eyes And found myself alone, alone Alone above a raging sea That stole the only girl I loved And drowned her deep inside of me [Refrain] You, soft and only You, lost and lonely You, just like heaven

Like Real People Do

Written By: Hozier

Artist: Hozier

Released: 2014

Alternate version included: Live in America, 2015

This song is a metaphor. Hozier uses “bog bodies” in Ireland, bodies which are exhumed after centuries of natural mummification, to describe a new relationship.

[Verse 1] I had a thought, dear, however scary About that night, the bugs and the dirt Why were you digging? What did you bury Before those hands pulled me from the earth? [Chorus] I will not ask you where you came from I will not ask and neither should you Honey, just put your sweet lips on my lips We should just kiss like real people do [Verse 2] I knew that look, dear: eyes always seeking Was there in someone that dug long ago So I will not ask you why you were creeping In some sad way, I already know [Chorus] So I will not ask you where you came from I would not ask and neither would you Honey, just put your sweet lips on my lips We should just kiss like real people do [Chorus] I could not ask you where you came from I could not ask and neither could you Honey, just put your sweet lips on my lips We could just kiss like real people do

[eurovision-revisited]

Eurovision 2005 - Number 48 - Glow - "Dream"

Estonia's best-selling pop queens, Vanilla Ninja, had defected to another country for 2005. What could ETV do? Why not get their support band on Eurolaul? And as they've got them booked, why not have them enter two songs?!

Glow are that support band. They are Marta Piigli and Ketlin Hoel and they've been singing as a duo since 2004. They had a couple of hits since then, with appearances on several Estonian summer song compilations. The sound is pop-rock, with Marta and Ketlin's voice singing rock harmonies in front a slightly anonymous band of blokes.

Dream is a chugging rock song that harkens back to the 1970s. Not metal, but from an era when double denim was the epitome of rock styling. Marta and Ketlin have surprisingly powerful and deep voices, that work exceptionally well together. Strong and easily able to keep up with a standard rock band drum, bass and guitar instrumental. There's keen a touch of a growl and gravel in there. It feels as if this is barely a work out for them.

The song was written by Asko-Rome Altsoo and Raul Veemer who did work together on a previous Eurolaul song in 2003. Asko-Rome's day job is a studio engineer. Neither are noted performers or song-writers, so this feels like a happy marriage formed in a studio.

Despite the band's inexperience, this wasn't their only song in Eurolaul this year. Their other song was written by the band themselves, but could only finish eighth of the nine songs. Dreams was preferred, but even then it only managed seventh in the televoting, a long way short of sixth place.

Even though there's an element of Glow filling in for the absence of Vanilla Ninja - their relative lack of stage presence struggles to fill that void. This miss didn't put them off, as they returned to Eurolaul in 2006 with something more polished.

2006 was pretty much the end for the band. They split that year. Marta went on to a career in business and coffee-shop ownership while (possibly) briefly playing for Saku Sporting in the Estonian women's football league, although that's possibly another Marta Piigli of a similar age. Ketlin stayed in music for a little longer. She joined a all-female four piece called Star Sisters for a few more years of very similar songs and performances. There some solo releases later in 2014.

[miashyperfixations]

THE GOOD WITCH - MAISIE PETERS ALBUM REVEIW

23.06.2023 • Pop/Alternative • 15 songs • 47 minutes • 2023 Gingerbread man records, Warner Music Group

★★★★☆

FAV SINGLE: Run 

TOP 3: Coming Of Age • Wendy • Watch

Maisie Peters is a British singer-songwriter, based in London & originally from West Sussex. Peters emerged into the music industry in 2017, signing to Atlantic Records shortly after, Under which, she released two EPs & other singles as well as writing the soundtrack to the Apple TV+ series ‘Trying’. In 2021, Maisie signed to Gingerbread Man Records, releasing her debut album that same year & now, releasing her sophomore album ‘The Good Witch’.

Something I love about this album is that she doesn’t shy away from production. A lot of emerging pop artists tend to go for an acoustic sound now, recording songs at home in their bedroom or closet with just a laptop & a mic and sending them off for mixing. Whilst Maisie has some of that sound in her songs, they still have complex elements of production & her upbeat pop songs reign above with the layering of all kinds of instruments: drums, synths, vocals, the list goes on. She perfectly combines the two sides of pop music into her discography whilst remaining a lyrical genius. She’s also broken the mould of female pop artists having to re-invent themselves with every album cycle & finding a new sound. In reality, there’s nothing wrong with continuing to produce music of a certain sound, especially if it works for the artist. In my mind, ‘The Good Witch’ is a more mature older sister to Maisie’s debut album ’You signed up for this’.

‘Wendy’ is without a doubt one of the most lyrically beautiful songs I’ve ever heard. The album’s 9th track, written around the concept of Peter & Wendy, is a song about knowing your own worth & choosing the right path (even if it’s not what the heart wants) to avoid becoming invisible & regretting life later on. It shows that wanting to see the best in others isn't always good because you become blind to the truth as it becomes an unreachable reality. Even if you know it’s right, things can still feel wrong in the moment & you have to make the sacrifices that are best for you. In a heartbreaking way, the song is an uplifting ballad about taking control of your own life & not waiting around on people who might not even  be there in the end.

The week after the album was released, on the 30th June 2023, ‘The Good Witch’ debuted at number 1 on the UK’s official album charts which gave Maisie her first ever number one album. Additionally, at 23, Maisie became the youngest British female solo artist to do so in almost 10 years, the record was previously held by Ella Henderson who achieved number 1 with her LP ‘Chapter One’ in 2014 at 18 years old. Maisie’s first album, ’You signed up for this’, peaked at number 2 on the official album chart when it was released in 2021.

Alone, Maisie has built up a large fanbase, having been dubbed one of Taylor Swift’s industry children & thus, attracting hordes of British swifties, but she has also done so through her relationship with Ed Sheeran. Sheeran signed Maisie to his record label 'Gingerbread Man Records’ in 2021 after she burst into the music industry & the two have a very close & public mentor/mentee relationship. A key part of building her fanbase has come from opening for Sheeran’s ‘Mathematics Tour’ for almost all of the UK/EU dates, all Oceania dates & a few of the American dates. As an incentive for ‘The Good Witch’ to reach number 1, Ed claimed over social media that he’d release a fan-favourite demo of hers if the album did so. And true to his word, Ed leaked ‘Girl’s House’ the evening the album charted via a link on his instagram story & fans went mental. 

Overall, I think that I personally prefer Maisie’s first album (as a body of work) but this is subject to change as time goes on of course. She is, without a doubt, one of the next big pop girls on the scene & her neverending talent just solidifies her position in the music industry.

[myhughniverse]

World Music Awards - via social media - "Happy Birthday to the gorgeous chart-topping, history making, top-selling Singer, Actress, Fashionista, Global Icon and Legend, the One & Only Kylie Minogue!

Kylie Minogue is the best-selling Australian Female Recording-Artist of All Time, with record sales of over 80 Million! Time named her one of the most influential people in the world! Kylie became famous starring in the Australian Soap Opera 'Neighbours' from 1986-88! She began her music career in the late 80's, becoming hugely popular after releasing 4 very successful dance/pop albums via PWL, and scored several top ten singles in Australia and the UK, including with the hits "The Loco-Motion", "I Should Be So Lucky", "Especially for You", "Hand on Your Heart" and "Better the Devil You Know". In 1993 Kylie signed with Deconstruction Records and released the albums 'Kylie Minogue' (1994) and 'Impossible Princess' (1997). In 1999, she released the #1 hits "Spinning Around" and "On a Night Like This". 'Fever' (2001) became her best-selling album to date, spawning the smash hit "Can't Get You Out of My Head" which she performed at the 2002 World Music Awards! It became one of the most played, top-selling singles of the 2000s, with over 5 million units sold. "In Your Eyes" and "Love at First Sight" were also huge hits! Kylie continued to release global hits including "Slow", "I Believe in You", "2 Hearts" and "All the Lovers". In 2023, Kylie made a huge comeback with the critically acclaimed and hugely successful album 'Tension' which debuted at #1 in Australia and the UK. With its lead single, "Padam Padam", she became the only female artist to achieve a UK top 1O hit from the 1980s to the 2020s. The single won her an ARIA Award for Best Pop Release and a Grammy Award for Best Pop Dance Recording. In November 2023, Kylie embarked on a concert residency, 'More Than Just a Residency', at The Venetian in Las Vegas. The show sold out within minutes. Kylie is also a very talented actress having starred in 'The Delinquents' (1989), 'Street Fighter' (1994), 'Moulin Rouge!' (2001), 'Holy Motors' (2012) and 'San Andreas' (2015). She is also a big TV star, appearing as a judge on The Voice UK and The Voice Australia in 2014. Her other ventures include product endorsements, books, perfumes, charitable work and a wine brand. Kylie's Awards include 2 Grammys, 2 MTV Video Music Awards, 3 World Music Awards, 3 MTV Europe Music Awards, 4 Brit Awards including the Global Icon Award in 2024, 6 Mo Awards and 18 ARIA Music Awards! In August 2004, she held the record for the most #1 singles in the ARIA singles chart (9)! In January 2011, she received a Guinness World Record for the most consecutive decades with top 5 albums in the UK! In February 2011, she made history charting 2 songs in the top 3 on the U.S. Dance Club Songs chart, with "Better than Today" at #1 and "Higher" at #3! In June 2012, the UK Official Charts Company named her the 12th best-selling singer of All Time, and the 3rd best-selling female artist, with over 10 Million singles sold! In December 2016, Billboard ranked her the 18th most successful dance artist of all time, honouring her with the Women in Music's Icon Award earlier this year. In November 2020, she became the only female artist to reach #1 on the UK Albums Chart in five consecutive decades! In 2007, Kylie became the 1st Female to receive a Music Industry Trust award for her 20-year career, hailed 'an icon of pop and style'! In July 2008, she was invested by Charles III as an Officer of the Order of the British Empire and in January 2019, she was appointed Officer of the Order of Australia. Kylie is an ARIA Hall of Fame inductee, a Chevalier (knight) of the Ordre des Arts et des Lettres and an honorary Doctor of Health Science

[gaymer-hag-stan]

On the 24th of June, eleven years ago, 2NE1 released their seventh Korean digital single, I Am the Best.

"I Am the Best" integrates a variety of musical genres such as electro house, electronic and hip hop, complete with instrumentations of synthesizers and middle eastern inspired rifts. An empowerment anthem, the lyrics revolve around the themes of self-confidence, dominance, and narcissism.

Music journalists applauded the musical styles of "I Am the Best" and 2NE1's performance, and considered it an iconic symbol of the genre's girl crush image—an industry-specific concept encompassing themes of ferocity and female empowerment. Recognized as an important work in the spread of the Korean wave around the world, it has appeared near the top on several critics K-pop bests lists. It was commercially successful in the group's native country, achieving the number one position on the Gaon Digital Chart and garnered more than 3.4 million digital downloads in 2011, and became the fourth best-selling single of the year in South Korea.

The accompanying music video for "I Am the Best" incorporated elaborate sets, props, attire and hairstyles with unconventional aesthetics. In 2014, the song attracted renewed attention after appearing in a Microsoft Surface Pro 3 commercial campaign. It then entered the top 70 on the France SNEP singles chart and topped the Billboard World Digital Songs chart for the first time, making 2NE1 the first Korean group and the second Korean act overall to have done so. The song was subsequently released in the United States on December 10, 2014 by Capitol Records and became one of the few non-English songs to have received airplay on American radio stations.

[thatannieclark]

Abstract:

This essay provides an in-depth analysis of St. Vincent's career, exploring her unique approach to music, which blends various genres and influences to create a distinct sound. Furthermore, it examines her impact on the music industry, both as a musician and as an advocate for female representation in the industry.

I. Introduction

Annie Clark, known by her stage name St. Vincent, has become one of the most innovative and respected artists in the contemporary music scene. Her unique blend of indie rock, art pop, and experimental music has garnered critical acclaim and a dedicated fanbase. This essay aims to provide a comprehensive understanding of St. Vincent's multifaceted artistry by examining her early life, musical evolution, artistic identity, and impact on the industry.

II. Early Life and Influences

St. Vincent was born Anne Erin Clark in Tulsa, Oklahoma, in 1982. Her musical upbringing was heavily influenced by her uncle, a jazz musician who introduced her to the guitar. This early exposure to music fostered a deep love for various genres, from the art rock of David Bowie to the innovative stylings of Miles Davis. Clark's education at the prestigious Berklee College of Music further refined her musical talents and laid the foundation for her eclectic career.

III. Beginnings and Musical Evolution

St. Vincent's career began with a stint as a guitarist for The Polyphonic Spree (2003-2006), followed by a role in Sufjan Stevens' touring band (2006-2007). These experiences allowed her to hone her skills as a musician and performer, setting the stage for her successful solo career:

Marry Me (2007): St. Vincent's debut album showcased her penchant for baroque pop and intricate arrangements.

Actor (2009): This sophomore effort saw St. Vincent delving into art rock and experimental pop, expanding her sonic palette.

Strange Mercy (2011): With more personal lyrics and electronic elements, this album marked a turning point in St. Vincent's career.

St. Vincent (2014): Critically acclaimed and awarded the Grammy for Best Alternative Music Album, this self-titled record solidified her status as an innovative force in the music industry.

Masseduction (2017): Boasting a pop-oriented sound, this album explored themes of power and vulnerability.

Daddy's Home (2021): St. Vincent continued her evolution with a 70s-inspired sound, demonstrating her refusal to be confined by genre.

IV. Artistic Identity

St. Vincent's artistic identity encompasses not only her music but also her visual aesthetics, stage presence, and exploration of gender and sexuality. Her album covers, music videos, and stage outfits are as carefully crafted as her songs, often featuring bold and striking imagery. Onstage, she delivers theatrical performances that incorporate choreography, reinforcing her commitment to the visual aspects of her art. St. Vincent's fluid approach to gender and sexuality challenges norms and contributes to her unique artistic persona. Finally, her willingness to collaborate and experiment with various artists and producers has resulted in a diverse and dynamic body of work.

V. Impact and Legacy

St. Vincent's influence on contemporary artists is evident in the growing number of musicians embracing genre-defying sounds and aesthetics. As an advocate for female representation in the music industry, she has inspired and empowered a new generation of women to pursue careers in music. Her contributions to the evolution of indie and alternative music have been recognized through numerous awards and accolades.

VI. Conclusion

St. Vincent's career, characterized by constant growth and experimentation, has left an indelible mark on the contemporary music scene. Her unique approach to music, blending genres and influences, has resonated with both critics and fans alike. As her work continues to evolve, St. Vincent remains an important figure in the music industry, pushing boundaries and inspiring fellow artists.

Through an examination of her early life, musical evolution, artistic identity, and impact on the industry, it becomes evident that St. Vincent's multifaceted artistry is vital to the contemporary music landscape. As she continues to challenge norms and explore new territory, St. Vincent's influence and relevance are likely to persist, further solidifying her status as an innovative and trailblazing musician.

[my-chaos-radio]

Release: October 16, 1989

Lyrics:

I don't know where my baby is

But I'll find him, somewhere, somehow

I've got to let him know how much I care

I'll never give up looking for my baby

Been around the world and I, I, I

I can't find my baby

I don't know when, I don't know why

Why he's gone away

And I don't know where he can be, my baby

But I'm gonna find him

We had a quarrel and I let myself go

I said so many things, things he didn't know

And I was, oh, oh, so bad

I don't think he's coming back, mm, mhm

He gave the reason, the reasons he should go

And he said things he hadn't said before

And he was, oh, oh, so mad

And I don't think he's coming back, coming back

I did too much lying

Wasted too much time

Now I'm here and crying, I, I, I

Been around the world and I, I, I

I can't find my baby

I don't know when, I don't know why

Why he's gone away

And I don't know where he can be, my baby

But I'm gonna find him

So open hearted, he never did me wrong

I was the one, the weakest one of all

And now I'm, oh, oh, so sad

I don't think he's coming back, coming back

I did too much lying

Wasted too much time

Now I'm here and crying, I, I, I

Been around the world and I, I, I

I can't find my baby

I don't know when, I don't know why

Why he's gone away

And I don't know where he can be, my baby

But I'm gonna find him

I'm going to find him, my baby

Been around the world and I, I, I

I can't find my baby

I don't know when, I don't know why

Why he's gone away

And I don't know where he can be, my baby

But I'm gonna find him

I did too much lying

Wasted too much time

Now I'm here and crying, I, I, I

Been around the world and I, I, I

I can't find my baby

I don't know when, I don't know why

Why he's gone away

And I don't know where he can be, my baby

But I'm gonna find him

I've been around the world

Looking for my baby

Been around the world

And I'm gonna, I'm gonna find him

Songwriter:

Been around the world and I, I, I

I can't find my baby

I don't know when, I don't know why

Why he's gone away

And I don't know where he can be, my baby

Andy Morris / Etterlene Jordan / Mark Dwayne Debarge / Ian Devaney / Lisa Stansfield / Paul Hardcastle

SongFacts:

"All Around the World" is a song by English singer, songwriter and actress Lisa Stansfield from her debut studio album, Affection (1989). It was released as the album's second single on 16 October 1989 by Arista Records. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song received favorable reviews from music critics. Songwriters, Stansfield, Devaney and Morris, received the 1989 Ivor Novello Award for Best Song Musically and Lyrically. "All Around the World" was also nominated for the Grammy Award for Best Female Pop Vocal Performance at the 33rd Annual Grammy Awards. Additionally, Stansfield was nominated for the Grammy Award for Best New Artist. The song became the first of two UK number-one singles for Stansfield (the second being an appearance on George Michael and Queen's "Five Live" EP) and the first of eight top-ten hits she would achieve in that country.

In 2003, "All Around the World" was included on Biography: The Greatest Hits. In 2014, the remixes of "All Around the World" were included on the deluxe 2CD + DVD re-releases of Affection, Face Up and on the People Hold On … The Remix Anthology compilation (also on The Collection 1989–2003).

The song came down quickly and on low budget. The vocal part was made in only two takes and real strings were put on afterwards. The song is largely influenced by American singer-songwriter Barry White. As a tribute to him, they made a spoken intro on "All Around the World" like the one on the album version of White's "Let the Music Play", only shorter.

Stansfield co-wrote the lyrics of "All Around the World" with her former bandmates Ian Devaney and Andy Morris from Blue Zone. In a 2019 interview, Stansfield recalled the process when the song was made:

I came into the studio, and Ian was messing around at the piano. He had a melody, and I just started singing: "Been around the world and I, I, I…" Everyone laughed but Ian said, "Wait, it's really good, that." It just came into my head – it was nonsense, but had a really good feel to it. "I, I, I" became the main hook. We'd no idea how massive it would become.

The song was released as the second European single on 16 October 1989. It was remixed by Yvonne Turner, Eddie Gordon, Paul Witts and Steve Anderson. In North America, "All Around the World" was released as the first single on 15 January 1990 and included remixes created by The 45 King and Richard Sweret. In Japan, the single was released on 7 February 1990. Stansfield went on to become the first white British woman to reach number-one on the Billboard R&B chart, the American black music chart. A music video was made to accompany the song, directed by Philip Richardson.

[ts1989fanatic]

It’s not an overstatement to say Taylor Swift’s “Midnights” is already one of the biggest albums of the 21st century. The album broke sales and streaming records, netting 1.57 million total album units in its first week based on its combined album sales, track sales, and online streams. That was actually Swift’s career-best first week despite being her 10th album. With that success, paired with the critical acclaim Swift’s been enjoying lately, it’s no wonder that the album is currently poised for some Grammy recognition, leading the odds right now on Gold Derby for Album of the Year, and being a heavy contender for other categories as well. And just like how the album broke sales records for Swift, it could break some Grammy records for her as well.

As of right now, “Midnights” is the obvious favorite to win Best Pop Vocal Album, especially considering its biggest competition right now are albums with weaker sales and acclaim, as well as fewer hit songs, like Miley Cyrus’s “Endless Summer Vacation” and Sam Smith’s “Gloria.” If she does prevail, she’ll join Adele and Kelly Clarkson as the only artists to win Best Pop Vocal Album twice; she previously won for her blockbuster 2014 release “1989.” But even if she doesn’t win, just a nomination for Swift would be significant. She would tie Ariana Grande, Kelly Clarkson, and Justin Timberlake as the artists with the most nominations in the category, with five each. Then again, as Clarkson is looking at another nomination this year with “Chemistry,” it could be that Swift ties for second instead. In the big leagues, “Midnights” could also net Swift a very important record. If she wins Album of the Year, she’ll become the first artist ever to win it four times, breaking her tie with Stevie Wonder, Frank Sinatra, and Paul Simon. Swift would also become the first woman and only fourth person in any field to win Album of the Year four times, joining engineers Tom Coyne, Serban Ghenea, and John Hanes. Additionally, Swift would become the first artist to win the award twice this decade. Even if she doesn’t win, though, a nomination for “Midnights” would still make Swift the most nominated female artist in the category, tied with the great Barbra Streisand.

Swift’s hit single could also be record breaking. “Anti-Hero,” an eight-week number-one hit on the Billboard Hot 100, is pretty much assured Record and Song of the Year nominations. If it gets nominated for Song of the Year, Swift will become the person with the most nominations ever in that category with seven, breaking her tie with Lionel Richie and Paul McCartney. And a Record of the Year nomination would be Swift’s fifth in that category, marking her first there since “Blank Space.”Most importantly, “Anti-Hero” could very well become Swift’s first song to win either category, which is definitely an overdue feat; if she doesn’t win Song of the Year, she’ll continue her streak as the songwriter with the most nominations without a win, as McCartney won in 1967 for “Michelle” and Richie won in 1986 for “We Are the World.” Last but not least, “Anti-Hero” could win for Best Music Video. If it does, Swift would become the first artist to win the award three times, having previously claimed the prize for “Bad Blood” and “All Too Well.” Swift would also tie director and past collaborator Mark Romanek as the only individuals to win the award three times.

Clearly “Midnights” has a long way to go, and we won’t be sure of anything until the envelopes are opened in 2024. Still, it’s likely Swift breaks at least one or two of the above records, further showing what a once-in-a-generation star she is. And listen, even if she doesn’t, she’ll undoubtedly be fine: Swift was already the first woman to win Album of the Year twice and thrice, so the rest may just be icing on the cake.

[lboogie1906]

Onika Tanya Maraj-Petty (December 8, 1982) known professionally as Nicki Minaj is a rapper, singer, and songwriter. Often referred to as the “Queen of Rap”. She first gained recognition after releasing three mixtapes (2007-09).

Her debut album, Pink Friday, topped the US Billboard 200 chart; its single “Super Bass” reached #3 on the US Billboard Hot 100 chart and was certified diamond by the RIAA. Pink Friday: Roman Reloaded explored dance-pop and debuted atop the Billboard 200, with its lead single “Starships” peaking in the top five of charts internationally. Her third album, The Pinkprint (2014), returned to her hip-hop roots. Its lead single “Anaconda” peaked at #2 on the Hot 100 and became the first music video by a solo female rapper to reach one billion views on YouTube. She released her fourth album Queenin 2018, which spawned the US top ten single “Chun-Li”. In 2019, her collaboration with Karol G, “Tusa”, became the longest-running #1 single on the Argentina Hot 100 chart. She has been featured in various songs and achieved her first two Hot 100 #1 singles in 2020 with the collaborations “Say So” and “Trollz”. In 2022, she achieved her first solo #2 with “Super Freaky Girl”, the lead single from her fifth studio album Pink Friday 2 (2023). She is one of the best-selling music artists, with more than 100 million records sold worldwide.

Billboard ranked her as the top-selling female rapper of the 2010s and one of the greatest rappers of all time. She has twenty-three top 10 singles in the US, the most for any female rapper, with six of those being solo songs. Her various accolades include eight American Music Awards, five MTV Video Music Awards, twelve BET Awards, four Billboard Music Awards, a Brit Award, three Guinness World Records, and twelve Grammy nominations. Her film and television career has included voice roles in the animated films Ice Age: Continental Drift and The Angry Birds Movie 2, supporting roles in the films The Other Woman and Barbershop: The Next Cut, and being an American Idol judge. In 2016, Time included her on their annual list of the 100 most influential people in the world. #africanhistory365 #africanexcellence