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ilovesmg3 · 4 months ago

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[ StoatCircut Playlist ] [ Art by @.GhostFink on Twitter ]

[ This is a collection of songs that fit their ship dynamic, them solo etc! Some people were asking about them (Thank youuu!!) and I wanted to share some songs since I find it easier to express dynamics/general personality through music. Enjoy! ]

[ Also, the lyrics that suit them (P03 and C4-RTER) THE MOST are here listed, I'm really excited to share all of these with all of you. Thank you so, so much. I genuinely can't thank you enough for the support I've gotten. (3 ]

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[ Your Stupid Face by Kaden MacKay ] [ Ship // How He Fell ]

" I just really hate your face Though I know that won't surprise you //

And if the world was perfect, you would've never invaded my space But since the world's obsessed with saying, "Psych!" //

I just really like your face You don't have to look so happy I'm not really into love that you flaunt In some glittery font But if that's what you want Make it snappy //

And if the world was perfect, you would be here in my embrace But since the world denied me one last kiss I'll just miss your stupid face //

And though we go together like a Chanel No. 5 and mace At least it's not as dull as fitting like a glove 'Cause you're a nightmare that I've not been dreaming of But I suppose that when push comes to shove Fine! I love your stupid face "

[ Metallic Madness Zone Act 2 by Naofumi Hataya & Tee Lopes ] [ Solo, "Him IRL" Song ]

" I'm an evil doctor with a rad genius And bad minions To help me sink the planet into my dominion A baddie with an I.Q. like you've never seen I'm the meanest, vilest villain that's ever been on your screen! //

I'm iconic With my bionic animatronics Got a chronic knack to catch the hedgehog they call "Sonic" My temper is atomic! My mustache is on fire! Welcome to the new world, Eggman Empire!"

[ Cabinet Man by Lemon Demon ] [ Solo, "Him IRL" Song ]

" The news reporters reported that I died But all my organs were living on inside Circuit board to brain with two lungs collecting change One big human heart gently beeping //

You can't win me, I can't be beat I won't hurt you unless you cheat You can't see me behind the screen I'm half human and half machine //

I'm happy for years and years And, only eating the occasional maintenance man Only driving a few kids to madness Maybe they were predisposed to madness, who knows? I only want to have fun "

[ ROOM FOR 2 by Benson Boone ] [ How Both See (3 ]

" At your deepest lows When you hit the ground again And you feel alone All you know is emptiness When you're walking circles And there's no end And your feet are tied Tryna catch your breath again //

When the world don't feel like home I'm a place to call your own You can stay forever through When you're barely holding on I'll be anything you want Open up my heart for you Baby, I got room for two //

Every day I fall For another part of you And the nights get cold Whenever I'm too far from you With every breath you take from my chest Try to understand //

I'm always right there with you every step. "

[ Heaven by Kane Brown ] [ How Both See (3 ]

" This is perfect Come kiss me one more time I couldn't dream this up Even if I tried You and me in this moment Feels like magic, don't it? I'm right where I wanna be //

Everybody's talkin' about heaven like they just can't wait to go Sayin' how it's gonna be so good, so beautiful Lyin' next to you, in this bed with you, I ain't convinced 'Cause, I don't know how, I don't know how Heaven, Heaven Could be better than this "

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[ I added a country song because I deeply believe that P03 adores cowboys, I stand by this forever and always. I like to think that P03 plays horses and builds little robot cowboys and horses for his son C0G5 to play with. Okay bye!!! ]

#p03 #inscryption #selfship #yumeship #self insert #inscryption p03 #self insert x canon #oc x canon #p03 inscryption #self ship #stoatcircut canon #stoatcircut #inscryption stoat

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goongiveusnothing · 5 days ago

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Harries loooveee the fact that Benson Boone exists. After years of Harry being called out for being a cheap amalgamation of all the actual greats before him, they’re so glad they can now call someone Harry’s “son” and redirect all those insults to him. To be fair, it’s working because some of the general public is joining in. The truth is Harry and Benson are of the same exact quality when it comes to music, clothing, and stage presence. They’re on twitter making fun of his flips, are they implying Harry’s “satellite stomps” are any better?

This being said I don’t think Benson Boone will reach the success that Harry’s had because this whole thing is outdated. In fact, if Harry debuted now he’d fail as well. It’s funny how his fans don’t realize that the things they now find try-hard and cringey are the shit their fave got famous on. I’m telling you, the only thing saving his career right now is nostalgia and novelty.

benson is clearly of a higher quality in terms of performance and vocals. harry fucked up his massive performance at the grammys by being unable to sing a fucking note on key!

i agree fully about both of them being outdated. it's just not really doing anything. what is it meant to mean, why are we meant to care. these jumpsuit outfits don't have any meaning. the softboy aesthetic with nothing behind it feels corporate.

yes! nostalgia is the only thing. he's a nostalgia act. the fans act like he's superceded 1D but without them nobody would still be this invested in him. and i think his next tour will be a nostalgia tour for 1D but also for his own career. his own fans have now aged to the point where they're over him but he still represents something about the past to them or about who they were when they were younger. they're not there to feel invigorated by something new or radical or interesting or because of anything he puts out now. and then the tour after that? well, that's gonna be in the realm of actual nostalgia acts where people who did hold this thing for him will have fully moved on and will only dip in maybe. he's also probably or hopefully going to be settling down with kids in the future, which will further impact his touring and his parosocial relationship with fans.

the idea he could be an icon or a legend has faded away already. the moment for him has fully passed. he's now got to think about how to hold on to what he had before.

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qnewsau · 17 days ago

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Drag, pride and bangers: Kesha serves at the Australian Open

New Post has been published on https://qnews.com.au/drag-pride-and-bangers-kesha-serves-at-the-australian-open/

Drag, pride and bangers: Kesha serves at the Australian Open

Kesha served at the Australian Open closing out her set with pride flags and drag as a powerful message of inclusion.

Pop icon and queer ally Kesha wrapped up a huge few days of music at the Australian Open’s AO Live.

Performing to a crowd of over 10,000 cheering fans she rounded out her set celebrating pride and inclusion.

Spanning three days, AO Live also featured Benson Boone, Kaytranada, Kesha, and Armand Van Helden.

It had been seven years since the pop star had performed on Aussie shores.

She ended her set with a powerful message of pride and inclusion to a cheering crowd.

“Kesha puts on an amazing show and the crowd was going wild.” Drag King Freddie Merkin told us.

Merkin, alongside drag artists DJ Cliterally, Marzi Panne and Pashion Couture took to the stage for Kesha’s final number.

Flanked by flag bearers waving huge inclusive pride flags, Kesha performed her hit We R Who We R.

“With everything going on in America at the moment, she made a big statement about who she is as a performer,” Merkin said,

“The fact that she comes out and shows her unity with us and her pride was a pretty pinnacle moment.

“Singing to huge inclusion flags being waved and drag performers celebrating who we are is a pretty big statement.”

At the end of her set, Kesha met up with the performers, thanking them for coming along and helping to make the moment onstage happen.

“I’ve got to be honest, it was a pretty fangirl moment, getting air kisses from Kesha and performing to that crowd.” Merkin said.

Source: Facebook

From Pride Day to Pride Slay

AO Live may have brought the party, but Kesha wasn’t the only one bringing pride to the Australian Open.

Inclusion was on display as they hosted a Pride Day Friday and a Glam Slam tournament this weekend.

Freddie joined a drag troupe on Pride Day roaming, celebrating and connecting with the community.

“Pride Day is always amazing, and the team behind it know how to turn it out and make it a fun day,”

“The Top Court had lots of fun for kids with activities and inspirations,” Freddie told us,

“There were roving performers with plenty of dancing and energy.

“I think we made a bigger impact this year,

“We were doing flash mobs performing to Absolutely Everybody and the Nutbush.”

Their third year as part of the AO Pride Day, this year the drag troop doubled.

Combining their iconic tennis looks and ball headpieces designed by Pashion Couture.

Only booked for Pride Day, Freddie and the team got a surprise call Saturday from Kesha’s team.

“We had had a group photo with her team not knowing who they were, and when having a lie in Saturday morning I got a call from our AO liaison,” Freddie said,

“They knew it was a slim chance but they were hoping four of us could get together to perform as part of Kesha’s closing set.

The rainbow flag bearers were already arranged and this was a chance for some extra drag tennis flair.

Source: Facebook

We’re not missing this opportunity!

There was no time to run on drag time for this crew.

The phone call asking for their involvement came at 1 pm and the drag performer’s call time was 4 pm.

They got to work painting their faces getting ready to join Kesha onstage.

“We were not going to miss out on this opportunity. How could you?” Freddie laughed.

Luckily Freddie, Marzi and Pashion were performing at Pride of our Footscray later that night.

DJ Cliterally rallied as well and they got ready to shine.

The last time Kesha performed in Australia was seven years ago.

And before that, it was another seven years.

Let’s hope we don’t have to wait till 2031 for her to slay and serve again.

Her first time at the Australian Open, and it was great to see Kesha bring awesome music and pride to AO Live.

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A post shared by Australian Open (@australianopen)

For the latest LGBTIQA+ Sister Girl and Brother Boy news, entertainment, community stories in Australia, visit qnews.com.au. Check out our latest magazines or find us on Facebook, Twitter, Instagram and YouTube.

#australian open #drag #drag king #drag queen #Kesha #pop culture #pop music #tennis

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fangirlfocus · 5 months ago

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2024 VMA Winners:

Incase you missed the 2024 VMA's last night, here is a full recap of the winners!

Video of the Year: Fortnight- Taylor Swift & Post Malone

Artist of the Year: Taylor Swift

Song of the Year: Espresso- Sabrina Carpenter

Best New Artist: Chappell Roan (her first VMA!)

Best Collaboration: Fortnight- Taylor Swift & Post Malone

Best Pop: Taylor Swift

Best Hip-Hop: Houdini- Eminem

Best R&B: Snooze- SZA

Best Alternative: Beautiful Things- Benson Boone

Best Rock: Human- Lenny Kravitz

Best Latin: Mil Veces- Anitta

Best Afrobeats: Water- Tyla

Best KPOP: Rockstar- LISA

Video for Good: What Was I Made For- Billie Ellish

VMA's Most Iconic Performance: Roar (2013)- Katy Perry

Best Trending Video: Mamushi- Megan Thee Stallion & Yuki Chiba

Song of the Summer: Fortnight- Taylor Swift & Post Malone

Best Direction: Fortnight- Taylor Swift & Post Malone

Best Cinematography: We Can't Be Friends (Wait For Your Love)- Ariana Grande

Best Editing: Fortnight- Taylor Swift & Post Malone

Best Choreography: Houdini- Dua Lipa

Best Visual Effects: Houdini- Eminem

Best Art Direction: BOA- Megan Thee Stallion

#aesthetic #blog #girl blogger #spotify #taylor swift #swiftie #teen #fangirl #fangirl blog #vmas 2024 #vmas #mtv #mtv vmas

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policemanofprincesspark · 3 months ago

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Talking about wannabe fashion!icon!Harry, maybe in the beginning of his solo career he was a bit more bold with his fashion decisions (but all credit goes to his stylist anyway, sorry not sorry) plus his friendship with Alessandro M. was blossoming so he was literally a walking advert for Gucci but these days literally everyone wears everything. Maybe H was the source of the courage for others and his stylist he set trends but it doesn´t mean anything these days. See Benson Boone or Damiano David (Maneskin) for example. Even Matty Healy, someone who´s hated by larries, harries and now even swifties lol, wore skirts multiple times back in 2019. So who´s the fashion!icon! now? Yeah, still H but only because fashion magazines are high up in his ass so that´s not even relevant anymore....especially after V mag posted an article about his absolutely normie and boring street style in the summer, I rolled my eyes deep into my head how much they need to praise him even he wore the most ordinary clothes ever.

He's worn strange, unmatching outfits since he went solo, but at least he used to try and some of his fits kind of worked. Now his street style is just lazy average guy dressed to go to Shell lol.

And yeah, all these magazines are paid off by his team. Harry has the Azoffs. It all means nothing.

#ask #harry snark #harry styles

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heylolita00 · 2 months ago

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#benson boone #madison beer #christmas #wallpaper #icons #lockscreen #pretty boy #men muscle #photography #photoshoot #**

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deadcactuswalking · 4 months ago

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REVIEWING THE CHARTS: 12/10/2024 (KSI is in the Thick of It)

For a seventh consecutive week, Sabrina Carpenter holds onto the #1 with the smash hit “Taste”… and otherwise, it’s a weird one. Welcome back to REVIEWING THE CHARTS!

content warning: language, references to real murder cases and Prime energy drinks

Rundown

As always, we start this week with our notable dropouts, those being songs that exited the UK Top 75 (which is what I cover) after five weeks in the region or a peak in the top 40. For this episode, we bid adieu to “Big Dawgs” by Hanumankind and Kalmi, “Ain’t No Love in Oklahoma” by Luke Combs, “Yellow” by Coldplay (though, funnily, not because the song is old, more on that later), and finally, the surprisingly long-running “Scared to Start” by Michael Marcagi.

As for our gains and returns… okay, let’s cover re-entries first because there is a bizarre story regarding the middling region of this chart. Firstly, we have some other stragglers returning for unrelated reasons that feel more typical, like “Riptide” by Vance Joy at #75, “Pretty Slowly” by Benson Boone at #71, and “Prada” by casso, RAYE and D-Block Europe taking some virality back all the way up at #34 – the songs so far have peaked at #10, #43 and #2 respectively.

Secondly, we have a bit of a true crime documentary on our hands. Television writer Ryan Murphy has an anthology series on Netflix regarding real crime stories, typically famous murderers, with the most recent September series focusing on the brothers Lyle and Erik Menendez. This Monsters series has proved controversial since the first season focused on Jeffrey Dahmer in questionable ways, but the second edition has faced criticism itself. Variety reports that Erik himself disapproves of the portrayal of his brother, with whom he murdered their parents in 1989. This may explain why a hit parade from the late 80s has exploded onto the higher-middle section of the chart, particularly due to the fact that several songs from famous pop music fraudsters Milli Vanilli have resurged.

I imagine anyone reading this series will know the story of the manufactured pop duo, but for a summary, Frank Farian, who also curated Boney M., had recorded music by session musicians that was promoted by two aspiring entertainers from Europe, him propping them up as the members of the “Milli Vanilli” duo when they did not by and large contribute to the records, especially not the hits, which all came out after their GRAMMYs were awarded to them. Safe to say they were revoked, and when they were caught lip-syncing to a looped track, their career collapsed and one half, Rob, sadly passed a few years after. The other member, Fab, has stayed long enough in the public eye for the music made under the controversial moniker to have maybe not critical acclaim but a public interest that is much more sympathetic to the two as victims of industry bullshit than the public was back in the 90s. This reappraisal of the story led to a documentary, a biopic and a completely unrelated true crime drama is the final push, it seems.

From 1988 to 1990 – their stardom really only lasted around two years before it all came crashing down – they had six hits in the UK, the first of which is perhaps their most famous because of how involved it was in their downfall. It’s “Girl You Know it’s True”, which peaked at #3 and bizarrely is not charting this week as you may expect – it’s definitely my favourite and an iconic hit of theirs… well, maybe not “theirs”. Instead, we have “Girl I’m Gonna Miss You” (sometimes listed without the “Girl” at the start) back at #40, which thanks to error, the Official Charts Company is recognising as a new song. The song originally peaked at #2 for three weeks in 1989, being just pipped at the post by Jive Bunny and the Mastermixers’ “That’s What I Like” because, yes, pop music has always been kind of a joke, and the late 80s exemplify that the best, and then “All Around the World” by Lisa Stansfield. Meanwhile, “Blame it on the Rain” actually reaches a new peak as it returns to #47 – yes, really, it only made it to #52 in 1989. My fun fact that I want to add is that the duo guest-starred – right before the scandal – in the Super Mario Bros. 3 tie-in cartoon, where they serve as Wendy Koopa’s favourite band. Subsequent airings took their songs out but had the animations retained, meaning that they mouthed along to instrumentals… which may be the funniest way to accidentally reference the fact they were, in essence, voiceless in their own music.

Now this series hasn’t just boosted those two poor saps, not that I can imagine Fab takes home any royalties from it. In fact, the highest track re-entering apart from “Prada” is by Oceanic rock icons Crowded House, whose massive hit “Don’t Dream it’s Over”, a #1 in their partial home of New Zealand and a #2 Stateside, is back at #37. It first reached the top 40 in 1987, a year after release, peaking at #27 in the UK, whilst The Firm’s “Star Trekkin’” was #1. Like I said, the late 80s were an often comical era for popular music, but I should say that this was replaced by the Pet Shop Boys’ “It’s a Sin” the week after. Crowded House weren’t done, however: they would have a series of hit singles and albums, and singer Paul Young took his 1991 cover of their initial hit to #20, whilst U2’s “The Fly” was #1. A development of clout for the original did reach a point where Crowded House released a greatest-hits compilation in 1996 and with it came a remixed single. I initially could not figure out why there was a 1996 re-release, but from finding a confused Steve Hoffman Music Forums user who had posted about owning the remixed single, I discovered that Spike Stent had remixed the track to justify a re-release that did peak higher at #25, whilst Robson & Jerome were #1 with “What Becomes of the Broken Hearted”. Meanwhile, in 1999, Lou Bega’s iconic “Mambo No. 5” was at the top during the week wherein a rework simply titled “Don’t Dream” by Irish band Dove debuted and peaked at #37. Personally, the first version will always be the classic for me, I definitely prefer it to the mostly dull Milli Vanilli tracks, and I am aware none of these will last, but it’s a fun story, right?

Backstory aside, and sheesh, a lot of backstory it was, we also have some normal gains, those being “I Only Smoke When I Drink” by nimino at #61, “Who” by Jimin at #31, “Diet Pepsi” by Addison Rae at #15, “I Love You, I’m Sorry” by Gracie Abrams at #11, “Sailor Song” by Gigi Perez at #6, and of course, thanks to the new Coldplay albums, “WE PRAY” with what may as well be 2024’s version of Band Aid is at #20 and “feelslikeimfallinginlove” is at #18, we’ll discuss more about Moon Music later.

Now for the top five, that should be more familiar: Sabrina’s at #5 and #4 with “Please Please Please” and “Espresso”, “Die with a Smile” by Lady Gaga and Bruno Mars has reached #3, Chappell Roan’s “Good Luck, Babe!” still stalls out at #2 and Ms. Carpenter of course reigns at #1.

New Entries

#74 – “N o C h i l l” – PARTYNEXTDOOR

Produced by Nonstop da Hitman, Alex Lustig and Bass Charity

Back in my day, the only things stylized like that were vaporwave edits of Bart Simpson. Drake protégé and fellow Canadian crooner PARTYNEXTDOOR has been active since the early 2010s in alternative R&B, with this being a sleeper hit from his most recent record, his fourth self-titled album that gathered more buzz for its anally penetrative album cover than its music. This is becoming a genuine Bubbling Under hit though so there must be something in the music to make the backshots worth it, surely? Well, no, this is pretty much your bog-standard PARTYNEXTDOOR song. His imperfect, fumbled Auto-Tuned warble would be potentially fun over a more organic instrumental, but layering him over a sea of pitch-shifted stray vocal blips and pads, alongside a trap slab that stifles any momentum, makes these R&B slow jams more like slogs than anything sensual. It also influenced PARTY to leave a lot of empty space for whatever reason, when the song’s instrumental, apart from some admittedly nice string inflections back in the unbefitting mix, and especially its content, mostly just about how he treats his girl to materialistic items, does not warrant much contemplation. He comes to a sturdier flow in the second verse, but when the song’s main conceit is the dumb joke that ever since PND got his girlfriend that “ice”, she’s had “no chill”… no, I can’t take anything here as intended, and especially not a spoken word outro that sounds like a phone call from his partner but reflects on absolutely none of the song’s content, or anything actually interesting either! I haven’t been able to take PARTY seriously since “Ratchet Happy Birthday” anyway, but this is not exactly helping matters.

#52 – “You Go Your Way” – Perrie

Produced by Alfie Russel and Joy Anonymous

At least it’s not a riff on the Fleetwood Mac classic of a similar title. Former Little Mixer Perrie Edwards has her third solo track out, after the underperformance of “Tears” which I personally really enjoyed, and whilst the sound of this track, which really becomes a fuzz in the mix thanks to too many elements in the chorus, gives me even less idea of where her solo sound will be, it does show that perhaps she doesn’t have much of an idea either. This is a cover of EDM duo Joy Anonymous’ “JOY (Get Over Me)”, with the abrupt, jerky chorus and dated production being inherited nearly entirely from that track, and whilst I like the bassline, the busy drums and barely decipherable flush of instruments in the chorus make this a real head-scratcher in the mixing department. The song could probably double as a song about not just being cautiously willing to depart from her ex-boyfriend, but also one regarding the Little Mix breakup and inevitable reunion, and whilst Edwards is clearly a capable vocalist, there really just isn’t much space, often quite literally, for her to work with, and absolutely not anything of lyrical interest, outside of the nervousness in the content fitting into the awkward, staccato feel of many of the song’s inflections, which is a cool touch, also present in the original, that does pair up with the detail in “Tears” as well. Sadly, Edwards’ vocals get somewhat crushed and treated not particularly well in the mix, with a really overwhelming chorus full of belting and overlapping vocal riffs that ends up just being straight-up hard to listen to. Perhaps a fine song in another context, but this anthemic single loses me primarily in production and final touches, which might just be the worst place to lose me as it makes the potential even clearer.

#43 – “ALL MY LOVE” – Coldplay

Produced by Bill Rahko, Daniel Green, Max Martin, ILYA, Oscar Holter and Michael Ilbert

It should be no surprise to anyone that Moon Music, the latest output from British cultural landmarks and possibly still regarded as a rock band, Coldplay, has sold over 200,000 copies and planted itself immediately at #1 on the albums chart. I did listen to the record, and it was of intrigue to me what would end up charting, since they really picked the only obvious singles as the singles… and this is largely an ambient album in its approach: tracks are purposefully unimpactful and feathery, atmospheric and sometimes lengthy and multi-part pseudo-epics that intend to reach bliss and serenity instead of functioning as hit songs or anthems like they’ve gone for at least once in their albums prior. I suppose that’s what “WE PRAY” is for this record, but “ALL MY LOVE” is a piano ballad about the undefeatable love Chris Martin shares with his partner: they can go through anything, they’ll still have his unconditional love. It’s a strong devotion for such a light, softening breeze of a ballad, which was initially teased as a piano solo improvised after a failed stage invasion during a live performance of an unrelated track. Now, I’ve said before that I really enjoy Ghost Stories and Coldplay’s lighter, less bombastic and arena-ready side, which did lead me to finding this album comforting, including this track, though “AETERNA”, “JUPiTER”, “GOOD FEELiNGS” with Ayra Starr and the one with the rainbow emoji as the title were my personal favourites. That doesn’t rule out “ALL MY LOVE” however as it is still a cute track. The backing vocals from H.E.R. are a nice touch to make the love feel requited, giving Martin’s typically solemn and warbly tone a bed of soothing comfort that decorates much of the album, and whilst the chorus is structured and sung almost as if it were a standard, the delicate guitar and really immaculately-mixed string orchestra swell place this thoroughly in their post-Britpop specialty. They even go for a slow burn like always, though it reflects less on the song’s overwhelming emotion than it does just on acceptance that love is beautiful and weathers many a storm that nature couldn’t. Call me old and sappy, but that’s sometimes nice to hear, and Coldplay are well within their mode in their later career to sell that, and quite blissfully. There’s a live version on the “Full Moon” deluxe edition, and a quirky lyric video, but other than that, I’m unsure to whether it’s being pushed as a single so far – it would be a damn good choice because adult contemporary radio would be all over something like this, and for good reason. It’s really pleasant, and if you want a good night’s sleep, I recommend spinning the album back to front.

#14 – “Thick of It” – KSI featuring Trippie Redd

Produced by Ray Michael Djan Jr.

The wonderful thing about YouTubers making music is that you really could go in wild and interesting directions. It’s a form of outsider music, really: giving entertainers famous for other talents and unique personalities the budget and access to recording equipment and materials could really lead to some interesting songs, especially given the subject matter could relate to their personality and/or content, the music could reflect their own probably diverse taste, and even if the end product isn’t great, it would still reflect their unique character. KSI hasn’t done that since “Lamborghini”. In what I can only presume is an effort to be taken more seriously, English YouTuber KSI of the “Sidemen”, also known as JJ, has been making pop-friendly fluff for years, nearly all of which I’ve covered in some form on this show. I like the song he made with Craig David, I suppose, but he will forever be the guy who said on a charting single that he’s “hella horny like a rhino watching porn”.

I have looked into this single specifically because there is discourse and criticism surrounding it, particularly with his food and drink collaborations with other YouTube scandal magnets like Logan Paul and Mr. Beast, that has led to more of an outrage marketing tactic: be everywhere, promote this song, and be really annoying about it, it’s clearly enough of a strategy to get to the top 20. Hell, it may be a strategy I prefer from JJ since it at least inflects the meme into his music in a way that could be at least fun or easily seen as novelty instead of the admirably sincere moves made into the industry from him and his celebrity guest stars for what is now half a decade. With that said, I don’t think this one goes for either approach: in fact, it finds quite an awkward middle ground.

Ignoring the fact that the video contains a massive Prime bottle frozen in an ice cube – yes, really – I cannot fully tell if this is a joke song or genuine attempt at pop stardom. There would be a boyish charm to his inept vocals if not for how egregiously layered and multi-tracked they are to sound like a Lil Nas X caricature, there would be some laughs to the Flo Rida-level lyrics if he didn’t deliver references to his own energy drink brand with a straight face. There would be some fun to find in the guitar-tinged drill beat not dissimilar to, say, 24kGoldn, if it wasn’t so smothered in the mix by a rumbling bass competing with overly trinketized drums and quadrupled vocal takes. The verses are so short, rendering the song primarily as a hook machine, and yes, it is catchy, but the lyrics don’t merit that or stick in your head as anything but sound: consider what he’s actually saying – if you don’t know anything about ice, how do you have bling? What does “They know me where it snows, I skied in and they froze” really mean? What brag is that, JJ? That your biggest fans are in the Alps? Once you commit so much to the jewellery-as-ice metaphor, you start to make zero sense. I will give credit to the fact that Trippie Redd delivers here, as whilst they have collaborated prior, and Trippie does anything for a check – ask MGK – he has some genuine grit to his whiny bellowing that lets him get away with the backing “Woo!” ad-libs and the actually okay content in his short verse, which is performed partially in an accent that reminds you that, yes, Trippie Redd really is from Ohio. In fact, he saves the song for me, even if there is some irony in that he dismisses his foes as “cold” when that’s the song’s main conceit.

With all that said, it does not matter. The song is listenable and catchy enough to work as meme fodder, it has a high-budget music video and big-name guest star that will attract investors, and it still is, despite all its flaws, somewhat entertaining, and completely kid-friendly. “Thick of It” really isn’t an awful song – it’s just KSI’s first step into becoming an ITV game show host. When you’re not taken seriously as an actor, singer or boxer, and he doesn’t even seem to want to be particularly, light entertainment may just be the way out of YouTuber purgatory for our guy here. Or get Craig David back. That’d be fun.

Conclusion

Best of the Week goes to Coldplay for “ALL MY LOVE”, which isn’t great but outside of some elements of Perrie’s, may be the only new entry worth defending. As far as the worst, I suppose it is “N o C h i l l” by PARTYNEXTDOOR. KSI’s song really is far from as bad as it’s painted out to be. As for what’s on the horizon, I think the UK Singles Chart will look completely different, but it’ll also still be the charts. Oh, and The Kid LAROI. For now, thank you for reading, long live Cola Boyy, and I’ll see you next week!

#uk singles chart #pop music #song review #trippie redd #ksi #thick of it #partynextdoor #perrie edwards #you go your way #coldplay #moon music era #all my love #monsters: the lyle and erik menendez story #milli vanilli

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