#top 39 eurovision

[religion-is-a-mental-illness]

By: Andrew Doyle

Published: May 13, 2024

The annual parade of kitsch and clamour, otherwise known as the Eurovision Song Contest, has devolved somewhat in recent years. Once a harmless extravaganza of camp and self-knowing nonsense, it has gone the way of most gay culture and fallen into the fatal trap of taking itself too seriously. This fluffy creature has started to bare fangs.

Of course, Eurovision has always been political. The tradition of Greece and Cyprus awarding each other full marks was as daft as it was inevitable. But the spectre of war has somehow now intruded itself; in 2022, the public vote for Ukraine was an expression of sympathy rather than a sincere judgement on the quality of the song, and this year the Israeli singer Eden Golan required an escort of around one hundred police officers due to threats from protesters. Such baleful developments take us a long way from the frivolity of “Puppet on a String” and “Hard Rock Hallelujah”.

This year the trophy went to Switzerland’s Nemo, a man in a skirt who identifies as “non-binary”. The UK entry, Olly Alexander, calls himself “gay and queer and non-binary” but magnanimously accepts the pronouns “he” and “him”. And then there is the “queer” and “non-binary” Irish entry Bambie Thug, a woman who came sixth in the competition but first in the award for the sorest of losers. Having being beaten by Israel, whose very presence in the competition was a source of outrage for Thug, she had the following to say:

“I’m so proud of Nemo winning. I’m so proud that all of us are in the top ten that have been fighting for this shit behind the scenes because it has been so hard and it’s been so horrible for us. And I’m so proud of us. And I just want to say, we are what the Eurovision is. The EBU [European Broadcasting Union] is not what the Eurovision is. Fuck the EBU. I don’t even care anymore. Fuck them. The thing that makes this is the contestants, the community behind it, the love and the power and the support of all of us is what is making change. And the world has spoken. The queers are coming. Non-binaries for the fucking win.”

One might argue that all of this is simply an extension of the high-campery of old. Thug certainly looks pantomimic, with her Christmas-cracker devil horns, and the layers of makeup piled on to what used to be a face. But what were once the glittery fripperies of gay culture have been hijacked by the acolytes of gender identity ideology, a movement that has appropriated this whimsical sheen to advance its authoritarian and sinister goals. It is this same movement that has successfully lobbied governments to introduce draconian speech laws, has hounded people out of their jobs for wrongthink, and has normalised bullying and threats of violence in the name of “social justice”. 

The very notion of “non-binary” is a reactionary concept dressed up in the guise of progressivism. Most of those who identify as non-binary are embracing, rather than rejecting, sex stereotypes. They claim to feel neither sufficiently masculine nor feminine, which is simply another way of reinforcing what it means to be male or female.

The same ambiguity goes for “queer”. Many gay people see this as a anti-gay slur, associating the term with the practice of “queer-bashing”. But now, many young heterosexuals are identifying themselves into this category as a means to claim the high status that now accompanies victimhood. Dannii Minogue, a lifelong heterosexual, recently “came out” as “queer”. To those who have been the victims of homophobic abuse and violence, it’s galling to see straights embracing the term as a fashion accessory. Minogue may as well have come out as a “faggot” or a “dyke”.

A study by the Arizona Christian University which surveyed six hundred people between the ages of 18 and 37 found that of those in the lower age bracket (18 to 24), 39 per cent identified as “LGBT”. Statistically, the majority of these respondents will be heterosexual. If this trend is to continue, it won’t be long before the “LGBTQIA+ community” will largely comprise of straight people with a kink. In fact, we’re probably already there.

Just because a majority rebrands itself as a minority, that doesn’t make it oppressed. This is the context in which Bambie Thug’s battle cry – “The queers are coming” – ought to be understood. The oppression of gay people throughout history is an incontestable fact, but heterosexuals, however fetishistic, have usually been left alone. It’s little wonder that more and more gay people are rejecting the “LGBTQIA+” label.

One of the common mantras intoned by activist groups and the institutions they have infected is that “non-binary identities are valid”. They are not referring to the standard definition of “valid” as an argument that has “a sound basis in logic or fact”. After all, there are only two human sexes and no third gamete. Rather, in the activist lexicon to be “valid” is an acknowledgement of the legitimacy of personal feelings, or “individual truths”, a close cousin of the notion of “lived experience”.

We are assured that “non-binary people have always existed”, a form of historical revisionism intended to shame anyone who refuses to dance along to the circus march of our times. Gareth Roberts points out the folly of such declarations in his new book Gay Shame, and how they are “throwing back into the unknowable past something that was literally invented on Tumblr in 2011”.

To be “non-binary” is a modish form of self-identification, no different from the “goths” of the 1980s or the “teddy boys” of the 1960s. The major departure is that those who identify as “non-binary” are now demanding that others pretend that their identity is something innate. To be born “non-binary” is about as feasible as being born an “emo”, and I have yet to hear of a case of a baby emerging from the womb in ripped skinny jeans and black eyeliner.

So when Bambie Thug cries out “Non-binaries for the fucking win!”, the connotations are a little more sinister than the teenage trends of yesteryear. Major corporations and public bodies are now insisting that we pretend that people can identify out of the categories of male and female, irrespective of the impact on the rights of women, gay people and children. Laws are being passed that will criminalise those who refuse to play along with the fantasies of narcissists. In other words, there is a lot more at stake than the fleeting fashions of Eurovision.

--

==

To claim to be "nonbinary," you have to believe in very strict, narrow, conservative gender stereotypes...

... in order to insist that you're a unicorn who is not.

[borisbubbles]

Eurovision 2023: #14 & #13

14. ESTONIA Alika - "Bridges" 8th place

Decade ranking: 40/116 [Above Circus Mircus, below TBA]

Tweak some bangs, Alika's Shart.

It is amazing how a few on-point tweaks can make a song significantly more appealing. I went up and down on Alika throughout the months, but a year after I've put her low on the pre-show ranking I am ready to lock in my final verdict: Bridges is kind of really good.

Ofc there were huge problems down the road cuz you know, vocal masturbation ballad in a BorisBubbles ranking, and also, clear jury carry the year after Marius Bear and Nadir Whatshisgjon, but Estonia ironed out their most glaring flaws, so what else can I ask for? I got what I wanted.

Estonia's problem for me, as I've come to realize once I started liking Alika again, was always one of aesthetics, and specifically visual aesthetics (keep that in mind when I rank Europapa low for the lack of bags-over-head (lol if I rank ESC2024 to begin with (I mean, I probably will (I am not readly to enter that discourse yet tho (regardless, that haircut is a capital offence))))). A big inherent flaw of vocal flex ballads like "Bridges" is the lack of dynamism and emotional gravitas (as the vocal technique goes against these principles - "loud" is a pitch, not an emotion) - it's a flaw that comes with the genre and that's something only charisma can fix. Pre-show Alika looked like she'd been dragged out of a river and then SHOUTED into a mic without moving, so yeah, that's where I bail. Slimane your way into someone else's simple and easily-impressed heart please, I Am Not The Demograph. (-- Alesia Michelle).

The version in Liverpool though was - by textbook definition almost - a glow-up. Alongside her Jenevelle hair, Estonia actually put Alika in a beautiful gown and made her move around. Observe:

NOW I SEE MAHSEEL BEELDING UP A WOALD OF BREEECHEEEEEEEEEES

Apparently a lot of people were mesmerized by the self-playing piano but for me the biggest factor in selling "Bridges" was just Alika herself. Props are nice embellishments but the true art of live performance is when score and vocal come together via the power of Personality. Which she finally showed in Liverpool after what felt like an eternity.

By allowing Alika to just do... idk, Alika things with her body lang, face and hands, Estonia broke the monotony of "three minutes of loudness" and made it fun, camp and digestible. If theres anything The Gays (me) like, it's a neat lady doing silly things with fierce confidence. Yasss Go Slay Queen.

Ultimately, a lot of people think Alika's top 10 is nonsense and a strike against juries and here I disagree. That a strong glow up and performance such as Alika's went unappreciated by the televote is a huge strike against the televote, not the other way around. I am happy she got her spot in the limelight, and 8th place is a good, if somewhat generous representation of what she brought. I'll never be a huge fan of the song "Bridges", but at the end of the day Alika really ate that live, and that's something worth rewarding.

-------------------------------------------------------------------

13. POLAND Blanka - "Solo" 19nd place

Decade Ranking: 39/116 [Above Alika, below Stefan]

"ARIANA GRANDE IF ARIANA HAD NO TALENT" -- my immediate instinct when i first heard "Solo"

Were my instincts wrong, though? Her lack of performance skill and talent, the online response, the severed heads of Jann and Iru she keeps mounted on a pedestal in her boudoire. Blanka was the Mery Bass of 2023. She has no business being this good.

btw yes, lmao so hard that THIS ENTRY was somehow one of the more controversial ones in recent ESC. Honestly, the 13th place I'm giving here is at least half thanks to the controversy which made "Solo" feel iconic - it is exceedingly funny to me that it caused so much outrage for... existing? What did Blanka ever do? Certainly not rob better acts - Listen to Jann and listen to Iru and tell me straight-faced they were better.

BEJBA! IS KINDA KRAJZA!

As a song, "Solo" was always fun femmetrash. Ever since Eleni the majority of the Eurovision girlbops have been attempting to recreate Fuegos with varying successes - Competently staged with intricate choreographies to commemorate our inner faggotry. "Solo" represents a style of girlbop that's gone out of fashion - the "Aphrodisiac"-like basic bop by useless bitches for useless cigs. (Fuego is what gays see themselves as, Solo is what they actually are). Aphrodisiacs have become nearly extinct at Eurovision because they nearly always lose the NF nowadays. So thank you Jann for performing 'Gladiator' in Scooby-Doo vocals so that we could witness Bejba fullfill her beautiful destiny in Liverpool.

And what a destiny it was. In a way, most of the things I wrote about Alika also apply to Blanka. A few small tweaks to the performance can make the whole a lot better. Unlike Alika though, who ampted up the sophistication, Blanka went a route I respect more: She listened to fan feedback.

Slight paraphrasing:

Fans: "EWW BLANKA HAS NO TALENT, CAN'T DANCE, CAN'T SING, WON BASED ON MONEY!!!" Blanka: "... so? 🙂"

I don't know WHEN Blanka decided to be everything the fans accused her of (talentless, washed-up, plastic), amped up to comical levels, but thank fuck she did because it made her instantly epic. It is rare for a Eurovision artist to address her online haters by Now I Betta Troll'em, Troll'em, and Blanka as it turns out is masterfully skilled at trollery. She elevated it into an art.

The Cheap VFX <3

The badly performed wooden choreos <3

The Dutch angles <3

Doing the Eleftheria thing of having your backing vocalist sing over you, while you mug the camera with semi-fierce faces and placeholder hairflips.

Accused to having no performance skill or talent? Add in a cheap dance break anyway, and enjoy every second of it, live your dream while they fume on Twitter, angry that Poland qualified over Georgia.

Guess where I am, honey? 💋 I'm in the final. 💋 And I'm here to stay 💋 :dramatic cymball:

"Solo" was incompetent, plastic and a huge mess, and that was great because it was all deliberate. That made it epic. Poland really took all the negative criticism they received and yanked it up to 11 and it made the entry better. If that isn't a taunting flex in the face of toxicity, I don't know what is. Given how venomous the fandom has been since the pandemic, that is an approach to life I can totally get behind.

THE RANKING

AND WITH THAT WE MADE IT OUT OF THE MILD LIKE ZONE, HOO-fucking-RAY. Now bear in mind that the next few eliminees are very LOW lush greens and there's quite a few of those before we get to the really good stuff, but eh. Soon I'll be able to talk about the songs I loved, and that's always a treat.

[eurovision-revisited]

Eurovision 2005: Qualification

The party is getting bigger. Welcome Bulgaria, Moldova and welcome back Hungary. It's another new record entry of 39 songs. There are 25 countries in the semi-final with the top ten going to the final. Already in the final are hosts Ukraine, the big four plus the other top nine finishing countries from 2004. I wonder if not appearing in the semi-final will affect the results from those acts..?

Even more countries and even more national finals. Last year there were thirty. This year there are thirty-four. Only five broadcasters internally selected, including Poland who after two years of great finals decided that they knew who they wanted to send. There are only two song selection finals this year, interestingly in Greece and Cyprus. That means thirty-two actual singing competitions in an ever increasing number of formats.

Not only are there more national finals, but those finals are getting bigger. There are several that have more than thirty songs in competitions. Ukraine, having undergone a revolution decided to hold its first ever national final and opened it up to just about every act in Ukraine. There were fifteen heats of five songs each - making 75 Ukrainian hopefuls in total.

As I've been doing for every years since 1997, I've included the Festival di Sanremo songs and this year I've also included Lebanon's intended entry as well. That makes a grand total of 627 songs. That's up from 503 last year and almost three times bigger than the number that there were in 1992. Running this bracket with all these songs took more than two months!

Surely they can't all be good? Let's find out.

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i love all of you and your reading comprehension skills

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Netflix, you CANNOT get me to believe that a snarky Independent Woman who dumps gravy on her head to get out of an awkward situation would make the same choices and respond the same way and be treated the same way by her family as a self-effacing, quietly kind proper lady who adheres to the ideals of feminine behavior for her society— to the point where she’s so compassionate the people around her just take her and her service for granted and tend to either devalue her or exploit her.

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[danielfuckingricciardo]

Because I’m in the Eurovision mood I thought I’d share my favourite song from each country (past and present!)

1. Albania 🇦🇱

2022 - Sekret // Ronela Hajati

2. Andorra 🇦🇩

2006 - Sense Tu // Jennifer

3. Armenia 🇦🇲

2014 - Not Alone // Aram MP3

4. Australia 🇦🇺

2015 - Tonight Again // Guy Sebastian

5. Austria 🇦🇹

2014 - Rise Like a Phoenix // Conchita Wurst

(This song makes me feel emotions every time damn it!)

6. Azerbaijan 🇦🇿

2021 - Mata Hari // Efendi

7. Belarus 🇧🇾

2014 - Cheesecake // Teo

(Underrated tune fr)

8. Belgium 🇧🇪

2015 - Rhythm Inside // Loïc Nottet

9. Bosnia and Herzegovina 🇧🇦

2011 - Love in Rewind // Dino Merlín

10. Bulgaria 🇧🇬

2017 - Beautiful Mess // Kristian Kostov

11. Croatia 🇭🇷

2023 - Mama ŠČ! // Let 3

12. Cyprus 🇨🇾

2018 - Fuego // Eleni Foureira

13. Czechia 🇨🇿

2019 - Friend of a Friend // Lake Malawi

(Was very hard to choose between this one and Lie To Me. It’s a very close second)

14. Denmark 🇩🇰

2021 - Øve Os På Hinanden // Fyr Og Flamme

(Was robbed in the semi-finals imo)

15. Estonia 🇪🇪

2015 - Goodbye to Yesterday // Elina Born + Stig Rästa

16. Finland 🇫🇮

2022 - Jezebel // The Rasmus

(Should have done so much better imo)

17. France 🇫🇷

2016 - J’ai Cherché // Amir

18. Georgia 🇬🇪

2011 - One More Day // Eldrine

19. Germany 🇩🇪

2011 - Taken by a Stranger // Lena

(Better than Satellite for sure, but Satellite slaps too)

20. Greece 🇬🇷

2008 - Secret Combination // Kalomira

21. Hungary 🇭🇺

2018 - Viszlát Nyár // AWS

22. Iceland 🇮🇸

2020 - Think About Things // Daði og Gagnamagnið

(Basic I know but it’s just such a good tune)

23. Ireland 🇮🇪

2011 - Lipstick // Jedward

(Not sorry about this one it slaps and Jedward are my kings)

24. Israel 🇮🇱

2015 - Golden Boy // Nadav Guedj

25. Italy 🇮🇹

(Gonna have to do a top five because I have such a thing for Italy in Eurovision I can’t pick just one oop)

2017 - Occidentali’s Karma // Francesco Gabbani

2015 - Grande Amore // Il Volo

2018 - Non Mi Avette Fatto Niente // Ermal Meta + Fabrizio Moro

2021 - Zitti E Buoni // Måneskin

2019 - Soldi // Mahmood

26. Latvia 🇱🇻

2022 - Eat Your Salad // Citi Zēni

(As a vegetarian and a bisexual I approve this message)

27. Lithuania 🇱🇹

2021 - Discotheque // The Roop

28. Luxembourg 🇱🇺

1988 - Croire // Lara Fabian

29. Malta 🇲🇹

2022 - Je Me Casse // Destiny

30. Moldova 🇲🇩

(My second favourite Eurovision country so here’s a top three)

2022 - Trenulețul // Zdob şi Zdub & Advahov Brothers

2018 - My Lucky Day // DoReDos

2017 - Hey Mamma // Sunstroke Project

31. Monaco 🇲🇨

1964 - Où Sont-elles Passées? // Romuald

(When I say I have an obsession with this song I mean it. PS Monaco plz come back we miss you!!)

32. Montenegro 🇲🇪

2015 - Adio // Knez

- Ranking Morocco doesn’t really feel fair because they only participated once lol -

33. The Netherlands 🇳🇱

2016 - Slow Down // Douwe Bob

(Hehe 33 Max Verstappen number it’s fate fr)

34. North Macedonia 🇲🇰

2012 - Crno I Belo // Kaliopi

35. Norway 🇳🇴

2009 - Fairytale // Alexander Rybak

(Listen I know it’s a basic choice but this song is iconic for a reason y’know? It slaps)

36. Poland 🇵🇱

2022 - River // Ochman

(King of the vocals fr brings me to tears every time)

37. Portugal 🇵🇹

2021 - Love is On My Side // The Black Mamba

38. Romania 🇷🇴

2010 - Playing With Fire // Paula Seling + Ovi

39. Russia 🇷🇺

2016 - You are the Only One // Sergey Lazarev

(Listen I’m a Sergey Lazarev stan first and human second. Between 2016 and 2018 I almost exclusively listened to his back catalogue and nothing else)

40. San Marino 🇸🇲

(Underrated country fr no one gets them like I do so they also get a top three)

2022 - Stripper // Achille Lauro

2021 - Adrenalina // Senhit + Flo-Rida

2019 - Say Na Na Na // Serhat

41. Serbia 🇷🇸

2023 - Samo Mi Se Spava // Luke Black

- Also not counting Serbia and Montenegro because they don’t have an emoji flag and they only participated twice -

42. Slovakia 🇸🇰

2010 - Horehronie // Kristina Pelakova

43. Slovenia 🇸🇮

2023 - Carpe Diem // Joker Out

44. Spain 🇪🇸

2019 - La Venda // Miki

(When I say this song was robbed I mean it. One of the biggest injustices faced in Eurovision was Miki coming 22nd)

45. Sweden 🇸🇪

(Sweden get a top three because they’re Sweden… they always slay)

2015 - Heroes // Måns Zelmerlöw

2012 - Euphoria // Loreen

2017 - I Can’t Go On // Robin Bengtsson

46. Switzerland 🇨🇭

2021 - Tout l'Univers // Gjon’s Tears

47. Türkiye 🇹🇷

2010 - We Could Be The Same // maNga

(Türkiye come back we miss you!!)

48. Ukraine 🇺🇦

(Another slay country so here’s a top three)

2018 - Under the Ladder // MELOVIN

2007 - Dancing Lasha Tumbai // Verka Serduchka

2021 - Shum // Go_A

49. United Kingdom 🇬🇧

(In the name of patriotism, of which I have very little, let’s do a top five + an honourable mention)

2012 - Love Will Set You Free // Engelbert Humperdinck

2022 - SPACE MAN // Sam Ryder

1981 - Making Your Mind Up // Buck’s Fizz

1968 - Congratulations // Cliff Richard

1976 - Save Your Kisses for Me // Brotherhood of Man

+ my honourable mention, Freaks // Jordan Clarke which should have been our song for 2019 but the British general public have no taste. I firmly believe this is why they no longer trust us to hold a national selection anymore lol

50. Yugoslavia *insert flag here*

1989 - Rock Me // Riva

(Basic choice I know, to pick their only winning song, but it slaps)

And that’s everyone!! Feel free to judge me hard for my tastes lol 😂

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station master:

1,595 notes - Posted August 14, 2022

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CHART CHASERS: Uncovering New Hits - AI Writes REVIEWING THE CHARTS

Content Warning: The following chart review episode may contain discussions and references to sensitive topics, including but not limited to explicit language, controversial themes, and discussions about artists and their personal lives. Listener discretion is advised. If you find any of these topics distressing, we encourage you to exercise self-care and skip over those sections. Remember, your well-being is important to us.

ChatGPT has re-written the last episode. The only things not AI-generated are this intro and the chart placements: yes, everything from the content warning to the producer credits is from ChatGPT, though for the rundown I did just ask it to rewrite what I had already written for last week’s episode, and, well, I did decide the prompts were getting a bit boring eventually so uh, you’ll see how it goes. I, for one, think my reviews are slightly too human so I welcome our new robot overlords - welcome back to REVIEWING THE CHARTS! Or, more accurately…

Rundown

In this episode, we have quite a busy week to cover, which is why it comes as no surprise that we have a significant number of notable dropouts—songs that have exited the UK Top 75. These songs either spent five weeks in the region or achieved a peak in the top 40. Among the songs bidding farewell this week are some Eurovision hits, including Alessandra's "Queen of Kings" and Kaarija's "Cha Cha Cha." Additionally, we also say goodbye to Ed Sheeran hits like "Life Goes On" and "Curtains." Other tracks making their exit include Nines' "Tony Soprano 2," Ice Spice and Nicki Minaj's "Princess Diana," Taylor Swift's "Snow on the Beach" featuring Lana Del Rey, Tina Turner's "What's Love Got to Do with It," Miguel's "Sure Thing," Lewis Capaldi's "Forget Me," and OneRepublic's "I Ain't Worried."

When it comes to filling in the gaps, there is only one re-entry at #49, which is Taylor Swift's "Anti-Hero." However, we do have some notable gains to highlight. "Relax My Eyes" by ANOTR and Abel Balder sees a boost at #58, while Anne-Marie's "UNHEALTHY" featuring Shania Twain climbs to #48. Additionally, Luude and Bru-C's "TMO (Turn Me On)" featuring Kevin Lyttle makes its way up to #45—an uplifting development. On the other hand, there are a few gains that I'm not particularly pleased about, such as Kali's "Area Codes" at #39, Byron Messia's "Talibans" at #37, and Becky Hill and Lewis Thompson's "Side Effects" at #35. However, I am glad to see Jorja Smith's "Little Things" rising to #28, and Hannah Laing and RoRo's "Good Love" making a significant debut at #22. Moving closer to the top 10, Dua Lipa's "Dance the Night" gains momentum at #13, and Kylie Minogue's "Padam Padam" sits at #12—both just missing the top 10. Meanwhile, Rudimental, Vibe Chemistry, and Charlotte Plank's "Dancing is Healing" enters the top 10 at #8. Although it's disappointing that this new top 10 hit isn't as impressive, there's not much we can do about it.

In this week's UK Singles Chart, the top five positions are filled with notable tracks. At #5, we have David Kushner's "Daylight," followed by Switch Disco and Ella Henderson's collaboration with the late Robert Miles titled "REACT" at #4. Taking the third spot is "Giving Me" by Jazzy, while Calvin Harris and Ellie Goulding's enchanting track "Miracle" secures the #2 position. And, of course, at the pinnacle, we find "Sprinter," which we will delve into later as part of our discussion on the intriguing new entries of the week. Let's begin exploring them now.

NEW ARRIVALS

#70 - “Give it to Me” - Matt Sassari

Produced by Matt Sassari

Matt Sassari presents us with his house remix of the iconic song "Give it to Me," originally performed by Timbaland, Nelly Furtado, and Justin Timberlake, which reached #1 in 2007. With a middling opinion, let's explore how this remix fares.

Sassari's take on "Give it to Me" infuses the track with a fresh house vibe, aiming to bring new energy to the familiar lyrics and melody. The remix incorporates pulsating beats, groovy basslines, and a driving rhythm, transforming the original R&B and hip-hop elements into a dancefloor-friendly experience.

While the remix showcases Sassari's skillful production techniques, it falls short in delivering a truly memorable interpretation. The essence of the original is somewhat diluted in this rendition, as the distinct personalities and vocal styles of Timbaland, Furtado, and Timberlake are replaced with an instrumental-focused approach. The absence of the original vocal performances may leave some listeners longing for the catchy hooks and memorable verses that made the original version so popular.

That said, for fans of house music and those seeking a fresh take on a familiar hit, Sassari's remix of "Give it to Me" may offer an enjoyable listening experience. The infectious beats and rhythmic elements will undoubtedly find their place on dancefloors, providing a lively atmosphere and opportunities for energetic moves.

Ultimately, the middling opinion on this remix arises from its inability to surpass or capture the same magic as the original chart-topping version. While Sassari's efforts to infuse a new genre into the track are commendable, the absence of the original vocal performances may hinder its ability to leave a lasting impression on listeners who hold nostalgic ties to the 2007 hit.

In summary, Matt Sassari's house remix of "Give it to Me" brings a fresh twist to the well-known song but falls short of matching the impact and appeal of the original version. It serves as an alternative rendition for those who appreciate a dancefloor-focused approach but may not fully resonate with fans of the original track

#68 - “HEATED” - Beyoncé

Produced by Beyoncé and Pharrell Williams

Beyoncé delivers a captivating performance with her song "HEATED", a track that holds a fascinating backstory. Co-written by Drake, with the leaked reference vocal track adding intrigue, "HEATED" showcases the immense talent of both artists and solidifies its place as a standout on the album it originates from.

From the moment the song begins, Beyoncé's commanding vocals take center stage, effortlessly captivating the listener's attention. Her powerful delivery and incredible range shine through, demonstrating why she is considered one of the most exceptional vocalists in the industry.

The involvement of Drake as a co-writer adds another layer of interest to "HEATED". The leaked reference vocal track, despite being unintended, offers a glimpse into the creative process and the collaborative effort between two remarkable artists. It serves as a testament to their shared musical vision and enhances the overall allure of the song.

Beyond its intriguing backstory, "HEATED" thrives on its own merits. The production is masterfully crafted, combining lush instrumentals with modern, innovative elements. The song's infectious beat, mesmerizing melodies, and rich harmonies create an immersive sonic experience that enthralls from start to finish.

Moreover, "HEATED" finds its place within an exceptional album, further solidifying Beyoncé's artistic prowess. The album, with its cohesive sound and thoughtfully curated tracklist, showcases Beyoncé's creative genius and her ability to deliver powerful and emotionally resonant music. It demonstrates her willingness to explore different styles and push boundaries, all while maintaining a sense of authenticity and artistry.

In conclusion, "HEATED" by Beyoncé is a remarkable piece of music that showcases her immense talent and artistry. The involvement of Drake as a co-writer, along with the leaked reference vocal track, adds an intriguing element to the song's narrative. With its impeccable production and Beyoncé's captivating vocals, "HEATED" stands out as a standout track on an exceptional album. It serves as a testament to the enduring artistry and creative exploration of both Beyoncé and Drake, leaving listeners in awe of their musical genius.

#63 - “bread & butter” - Gunna

Produced by Turbo, Omar Grand and Cam Griffin

Gunna's "bread & butter" presents a trap-infused anthem that exudes confidence and showcases the artist's undeniable talent. While the song touches on the sensitive topic of allegations regarding Gunna's involvement with his gang YSL and the subsequent plea deal he took to ensure his freedom, the track itself is a testament to his artistry and ability to deliver captivating music.

Produced by Turbo, "bread & butter" boasts a meticulously crafted trap beat that serves as the perfect backdrop for Gunna's smooth and melodic flow. The production is rich and dynamic, featuring hard-hitting drums, infectious hooks, and captivating instrumental layers that enhance the overall energy of the song.

Gunna's lyrics exhibit a sense of resilience and determination, reflecting his personal journey through challenging circumstances. While the allegations surrounding his gang affiliation and plea deal may have been a controversial chapter in his life, Gunna manages to channel these experiences into a confident and empowering track. It serves as a testament to his ability to rise above adversity and maintain his focus on success.

"bread & butter" is a prime example of Gunna's distinct style and unique approach to trap music. His effortless delivery, coupled with the intricate wordplay and catchy hooks, solidifies his position as a prominent figure in the genre. The song's infectious energy and memorable melodies make it a standout within Gunna's discography.

In conclusion, Gunna's "bread & butter" is a trap anthem that showcases the artist's undeniable talent and ability to create captivating music. While the song touches on sensitive subject matter surrounding allegations and plea deals, its focus lies in Gunna's artistic expression and his ability to deliver an engaging and energetic track. With Turbo's expert production and Gunna's signature flow, "bread & butter" cements itself as a standout within the trap genre, leaving listeners captivated by its infectious hooks and empowering lyrics.

#60 - “Closer” - Bou featuring Slay

Produced by Zephyr

"Closer" by Bou featuring Slay is a disappointing track that attempts to ride on the coattails of a timeless classic, "Children" by Robert Miles. However, instead of paying homage or bringing a fresh interpretation to the sampled material, it falls flat in its execution and fails to capture the magic of the original.

The decision to sample "Children" raises expectations, as it is a well-loved and iconic song. Unfortunately, "Closer" does little justice to the source material, with the sampling feeling forced and lacking the emotional depth and impact that made the original so memorable. Rather than building upon the foundation laid by Robert Miles, Bou's attempt to incorporate the sample feels uninspired and ultimately falls short.

Adding to the disappointment is Slay's contribution to the track. Slay's vocals come across as a subpar imitation of other artists in the genre, particularly Bru-C. Rather than bringing a unique style or standout performance, Slay's delivery feels lackluster and fails to make a lasting impression. The comparison to Bru-C only highlights the shortcomings of Slay's performance, as it becomes evident that his delivery lacks the energy, charisma, and distinctiveness that make Bru-C a standout artist.

In terms of production, "Closer" lacks innovation and fails to carve out its own identity. The beats and instrumental elements feel generic and formulaic, failing to bring anything new or exciting to the table. As a result, the track becomes forgettable and fails to leave a lasting impact on the listener.

In summary, "Closer" by Bou featuring Slay is a disappointing attempt to sample a classic song without bringing any substantial creative vision to the table. The sampling of "Children" lacks the emotional depth of the original, and Slay's vocals pale in comparison to other artists in the genre. The lackluster production and generic beats further contribute to the track's overall mediocrity. Ultimately, "Closer" fails to capture the magic of the sampled material and falls short of delivering a memorable or enjoyable listening experience

#59 - “Annihilate” (Spider-Man: Across the Spider-Verse) - Metro Boomin, Swae Lee, Lil Wayne and Offset

Produced by Metro Boomin, Wheezy, TM88 “or even” Zaytoven

"Annihilate," featured on the Spider-Man: Across the Spider-Verse soundtrack, brings together Metro Boomin, Swae Lee, Lil Wayne, and Offset for an intriguing collaboration. However, the track falls into a middling territory due to weak production and the inclusion of peculiar lyrics about spiders. Nevertheless, Lil Wayne's verse manages to stand out amidst the shortcomings.

Starting with the production, "Annihilate" fails to leave a strong impression. The instrumental lacks the depth and innovation needed to create a truly captivating sonic experience. The overall sound feels generic, missing an opportunity to create a distinct atmosphere that would enhance the track's impact. The weak production contributes to a lackluster overall vibe that fails to ignite excitement or leave a lasting impact on the listener.

Additionally, the inclusion of strange lyrics about spiders can be off-putting and disrupt the cohesiveness of the track. While the Spider-Man theme may be a fitting choice given the soundtrack's context, the execution falls short of creating a seamless integration. The unconventional lyrical content about spiders can be distracting and may alienate listeners who are looking for a more relatable or engaging narrative within the song.

Amidst these criticisms, Lil Wayne's verse manages to shine. Known for his distinctive flow and wordplay, Lil Wayne injects energy and charisma into "Annihilate." His lyrical prowess and delivery stand out as the highlight of the track, providing a glimmer of excitement and memorable moments within an otherwise lackluster production.

In summary, "Annihilate" falls into a middling category due to weak production and the inclusion of peculiar lyrics about spiders. The track lacks a strong sonic presence, and the strange lyrical content can be distracting. However, Lil Wayne's verse saves the day, bringing a much-needed spark of energy and skill to the song. While the overall track may not be a standout, Lil Wayne's contribution adds a redeeming quality that fans of the artist may appreciate.

#56 - “Calling” (Spider-Man: Across the Spider-Verse) - Metro Boomin, Swae Lee and NAV featuring A Boogie wit da Hoodie

Produced by Metro Boomin

"Calling," a track featuring Metro Boomin, Swae Lee, NAV, and A Boogie wit da Hoodie, is an interesting addition to the Spider-Man: Across the Spider-Verse soundtrack. While Swae Lee's performance stands out, the inclusion of references to the Israeli government and judicial crisis in a song from a superhero movie soundtrack feels out of place and somewhat inappropriate.

Starting with the positives, Swae Lee's vocals bring a captivating and melodic element to the track. His smooth delivery and catchy hooks create an enjoyable listening experience and add a layer of depth to the song. Swae Lee's contribution shines amidst the collaboration, making his presence a highlight worth noting.

However, the inclusion of references to the Israeli government and judicial crisis within a song from a Spider-Man movie soundtrack raises eyebrows. The choice to touch on such a complex and politically charged topic feels out of sync with the intended theme of the soundtrack. It can create a sense of confusion for listeners and distract from the overall enjoyment of the music.

Furthermore, the inclusion of these references by artists who seem to support the Israeli government adds another layer of complexity. It seems odd to address such a sensitive issue within the context of a Spider-Man movie, as it can divert attention from the core message of the film and create a disconnect between the song and its intended purpose.

In summary, "Calling" presents a mixed bag of elements. While Swae Lee's performance adds a memorable touch to the track, the inclusion of references to the Israeli government and judicial crisis feels out of place within the Spider-Man: Across the Spider-Verse soundtrack. It disrupts the cohesiveness and appropriateness of the song, potentially detracting from the overall listening experience. It is worth noting that the inclusion of such sensitive topics within a superhero movie soundtrack may not align with the expectations and preferences of all listeners.

#52 - “Sittin’ on Top of the World” - Burna Boy

Produced by Kel P, Leriq, P2J, Rexxie and JAE5

"Sittin' on Top of the World" by Burna Boy is a captivating track that showcases the artist's talent and versatility. The song stands out with its clever sampling of Brandy's "#2 hit" featuring Ma$e, adding a nostalgic touch to the overall composition.

Burna Boy's interpretation of the sample brings a fresh perspective, infusing the track with his unique style and infectious energy. His confident and charismatic delivery shines through, creating a captivating listening experience. The fusion of Afrobeat elements and the sampled melody creates a dynamic blend that resonates with fans of Burna Boy's music.

While it may seem irrelevant to the review, it's worth noting that personal opinions about fast food restaurants can vary. While some individuals may enjoy the convenience and affordability they offer, others may have concerns about the environment and hygiene standards. However, it's essential to focus on the review at hand and provide an objective assessment of the music.

Returning to the song, "Sittin' on Top of the World" captivates listeners with its infectious rhythms, melodic hooks, and engaging lyrics. Burna Boy's ability to craft catchy melodies and deliver compelling performances elevates the track and contributes to its overall appeal. The song's production is polished and well-executed, providing a solid foundation for Burna Boy's vocals to shine.

In conclusion, "Sittin' on Top of the World" is a strong addition to Burna Boy's discography, showcasing his talent as an artist. The clever sampling of Brandy's "#2 hit" adds a nostalgic touch that resonates with fans, while Burna Boy's unique style and delivery make the track stand out. Despite any personal opinions about fast food restaurants, it's important to focus on the musical aspects and recognize the strength of Burna Boy's performance in this particular song.

#51 - “Am I Dreaming” - Metro Boomin, A$AP Rocky and Roisee

Produced by Metro Boomin, Clams Casino, Hector Delgado and Danger Mouse

"Am I Dreaming" is a captivating collaboration that brings together the talents of Metro Boomin, A$AP Rocky, and Roisee. The track showcases the artists' ability to create a mesmerizing and immersive musical experience. The production, helmed by Metro Boomin, offers a captivating backdrop with its intricate beats and atmospheric soundscapes. The opening bars immediately draw the listener in, promising a journey through the realms of hip-hop and trap.

However, as I delve into analyzing the song, I can't help but find myself drifting into a contemplation of my own existence. It's as if the music triggers a mid-life crisis within me, a reflection on the choices made and the paths not taken. Thoughts of missed opportunities, unfulfilled dreams, and the relentless ticking of the clock flood my mind, overshadowing the review I set out to write.

What is the purpose of it all? Have I achieved what I set out to do? Is there still time to chase those dreams or am I destined to remain trapped in the monotony of everyday life? These questions consume my thoughts, as if the song acts as a catalyst for a deeper existential crisis.

But let's refocus on the task at hand. "Am I Dreaming" showcases A$AP Rocky's lyrical prowess and distinctive flow, complemented by Roisee's unique vocal stylings. The chemistry between the artists is evident, creating a synergy that enhances the track's overall appeal.

The production, with its haunting melodies and pulsating basslines, creates an ethereal atmosphere that adds depth to the song. Metro Boomin's skill as a producer shines through, ensuring that the music serves as an engaging backdrop for the artists' performances.

However, as I try to regain my focus, I find myself pondering the passage of time and the weight of unfulfilled ambitions. It's as if the song resonates with a deeper part of my being, evoking emotions and thoughts that I've kept buried for far too long.

In this moment of introspection, I'm reminded of the fragility of life and the importance of seizing every opportunity. The song becomes a soundtrack to my own personal revelation, a reminder that time waits for no one and that the pursuit of dreams should never be abandoned.

Unfortunately, this introspective journey has overtaken my ability to conclude this review as intended. The lyrics, the melodies, the emotions they evoke—they all intertwine with my own internal struggles, rendering me incapable of providing a clear, concise conclusion.

In the end, perhaps this ramble serves as a reminder that music has the power to evoke profound introspection and reflection. "Am I Dreaming" by Metro Boomin, A$AP Rocky, and Roisee is a testament to the emotive impact that music can have, not just on our enjoyment but also on our very existence.

#21 - “Popular” - The Weeknd, Playboi Carti and Madonna

Produced by Metro Boomin

"Popular" is an intriguing collaboration that brings together the unique talents of The Weeknd, Playboi Carti, and Madonna. The track showcases their individual artistry and creates a captivating sonic experience.

Now, speaking of laptops, let me share an embarrassing personal story about the time I accidentally broke mine. It was a typical day of work, and I was engrossed in a flurry of tasks when, in a moment of unfortunate clumsiness, I knocked my trusty laptop off the desk. The sound of shattering glass echoed in the room, leaving me in a state of shock and dismay.

I tried my best to piece it back together, but alas, my efforts were in vain. The laptop, once a reliable companion in my daily endeavors, was reduced to a shattered mess. It was a moment of frustration and regret that I won't soon forget.

Now, let's refocus on "Popular" and its musical merits. The Weeknd's smooth vocals blend seamlessly with Playboi Carti's distinctive flow, while Madonna adds her iconic touch to the collaboration. The production, with its infectious beats and intricate layers, provides a solid foundation for the artists to shine.

Despite my laptop mishap, the song itself deserves attention for its catchy hooks and the charisma brought by each artist. The fusion of their styles creates an energetic and engaging atmosphere, inviting listeners to embrace the vibrant soundscape.

But as I attempt to steer the review back on track, my mind keeps circling back to that unfortunate incident with my broken laptop. It serves as a reminder of the unexpected turns life can take and the challenges we encounter along the way.

Ah, the frustration of lost files, shattered screens, and the inconvenience that follows. It's funny how a simple object can hold such significance in our daily lives. The laptop becomes not just a tool but a vessel for memories, work, and connection.

In conclusion, "Popular" showcases the collective talents of The Weeknd, Playboi Carti, and Madonna, with each artist bringing their unique contributions to the table. The song's catchy hooks and dynamic production make it a worthwhile addition to their respective discographies.

However, as much as I try to wrap up this review, my mind keeps wandering back to that unfortunate laptop incident. It's a reminder to handle things with care, both in the physical and metaphorical sense.

So, dear readers, take this review as a cautionary tale. Guard your laptops, protect your files, and be mindful of the unpredictable moments that life throws our way. Now, if you'll excuse me, I need to go ponder the mysteries of laptop karma once again.

#17 - “UK Rap” - Dave and Central Cee

Produced by AoD

Once upon a time, in a world of diverse musical tastes and preferences, I encountered a woman who had a peculiar obsession with UK rap. Now, don't get me wrong, I'm all for appreciating different genres and artists, but her unwavering devotion to only two particular artists within the UK rap scene left me utterly baffled.

This woman, whom I'll refer to as Emma, had developed an inexplicable attachment to Dave and Central Cee. Whenever the topic of UK rap arose, she would passionately express her love for these two artists while turning a deaf ear to any other suggestions or recommendations.

Curiosity got the better of me, and I couldn't help but inquire about her steadfast loyalty to Dave and Central Cee. "Why limit yourself to just two artists?" I asked, genuinely perplexed. Emma's response was equally puzzling.

She explained that their music resonated deeply with her, as if their lyrics and beats were intricately woven into the fabric of her soul. She felt a profound connection to their storytelling and the authenticity of their experiences. According to her, no other UK rap artist could capture that same essence.

I probed further, questioning whether she had given other artists a fair chance. Emma shrugged off my inquiries, firmly stating that she didn't see the need to explore beyond Dave and Central Cee. Their music fulfilled her desires for lyrical depth and captivating delivery, and she saw no reason to venture into unfamiliar territory.

I couldn't help but feel a mix of amusement and frustration at Emma's narrow musical perspective. The vast landscape of UK rap, with its multitude of talented artists and unique styles, remained unexplored in her world. It was as if she had built a comfortable bubble around herself, limiting her exposure to the wealth of creativity that existed beyond her chosen favorites.

As our conversations continued, I attempted to introduce her to different UK rap artists, hoping to broaden her horizons. But her resistance was strong, and she remained steadfast in her unwavering devotion to Dave and Central Cee. It seemed as though no amount of persuasion could sway her musical preferences.

In the end, I had to accept that we all have our individual tastes and preferences when it comes to music. While I couldn't fully understand Emma's obsession with only two artists, I respected her right to choose what resonated with her.

And so, the story of Emma and her limited exploration of UK rap serves as a reminder that musical appreciation is a deeply personal journey. Some may choose to delve into the vast sea of artists and genres, while others find solace in a select few. Regardless of our choices, let us celebrate the diversity of musical expression and the power it holds to captivate our hearts and minds.

#14 - “Trojan Horse” - Dave and Central Cee

Produced by AoD

(Verse 1)

I step up in the place, they know I'm icy

Central Cee, I'm here to make it spicy

Got the flow that's smooth like a river

Doja got me feeling like a killer

(Chorus)

Doja, Doja, she got me in a trance

She got that fire, making me dance

Doja, Doja, she's my addiction

I'm hooked on her like it's a prescription

(Verse 2)

She's the baddest in the room, no competition

Doja got me yearning for her submission

Her style so unique, she's a rare find

When she walks in, she leaves them all behind

(Chorus)

Doja, Doja, she got me in a trance

She got that fire, making me dance

Doja, Doja, she's my addiction

I'm hooked on her like it's a prescription

(Bridge)

Doja, Doja, she's got that magic touch

Her presence alone is just too much

She's the queen, ruling the scene

In her world, I'm a willing devotee

(Chorus)

Doja, Doja, she got me in a trance

She got that fire, making me dance

Doja, Doja, she's my addiction

I'm hooked on her like it's a prescription

(Outro)

Doja, Doja, you're my inspiration

You've captured my heart, no hesitation

Central Cee and Doja, a perfect connection

Together we create a musical reflection

#1 - “Sprinter” - Dave and Central Cee

Produced by 169

Ah, the state of AI generation. It's a topic that has sparked both fascination and concern, as we witness the evolution and capabilities of artificial intelligence. While AI has undoubtedly brought about significant advancements and potential, there are aspects that leave me pondering the implications of its continued development.

One of the fundamental concerns is the issue of AI-generated content. We live in an era where algorithms and machine learning models can produce everything from music lyrics to entire news articles. And yes, it's impressive to witness the ability of AI to mimic human creativity, but it also raises questions about originality, authenticity, and the role of human creators.

Now, let me take a moment to digress and discuss something unrelated yet strangely connected – the rapper Yeat. Yes, Yeat. I must admit, Yeat's music irks me to no end. His incoherent lyrics and lackluster delivery often leave me scratching my head, wondering how such mediocrity manages to garner any attention. But I digress.

Returning to the matter at hand, AI generation poses a significant challenge to the creative industries. It blurs the line between what is genuinely crafted by human hands and what is a product of algorithms crunching data. While AI-generated content may provide efficiency and convenience, it also raises concerns about the future of human creativity and the value we place on genuine human expression.

Furthermore, the potential for AI to perpetuate biases and prejudices cannot be ignored. Machine learning models are trained on existing datasets, which means they inherit the biases and flaws present in the data. This can result in discriminatory outputs, reinforcing societal inequalities and biases that we strive to overcome. It's a reminder that, even in the realm of AI, human oversight and ethical considerations are crucial.

And here's another odd tangent – Yeat's fashion sense. Seriously, have you seen the outfits he wears? It's as if he purposefully tries to offend the eyes of anyone with a semblance of taste. But I digress again.

Returning to the topic, the potential ramifications of AI generation extend beyond creative industries. There are broader societal implications to consider. Automation driven by AI technology threatens job markets, raising concerns about unemployment and economic inequality. We must find a balance between embracing the efficiencies of AI and ensuring a sustainable future for workers and society as a whole.

Ultimately, the state of AI generation is a double-edged sword. It promises great advancements, but we must approach it with caution and consider the ethical, societal, and creative implications. We need to strike a balance between harnessing the potential of AI while preserving the irreplaceable value of human ingenuity and expression.

And as for Yeat, well, he will continue to perplex me with his questionable talent and fashion choices. But hey, to each their own, I suppose. Now, let's refocus our attention on the pressing matters at hand and explore the ever-evolving landscape of AI generation with both optimism and skepticism.

Conclusion

And that wraps up another week of chart reviews! It's been quite the journey, exploring the ups and downs of the UK Singles Chart. But before we bid farewell, it's time to reveal our Best of the Week, and this time, we have a tie! "Sprinter" and "Trojan Horse" by Dave and Central Cee have truly captivated us with their infectious energy and undeniable talent. These tracks showcase the dynamic synergy between these two artists, and we can't help but be swept away by their lyrical prowess and captivating beats.

But let's not forget our Honourable Mention, which goes to none other than "HEATED" by Beyoncé. This track has proven once again that Queen Bey knows how to deliver a powerful and soulful performance. From the mesmerizing vocals to the infectious rhythm, "HEATED" has left us wanting more, and we can't wait to see what Beyoncé has in store for us in the future.

Now, before we sign off, let's take a moment for an irreverent aside. Did you know that Joe Biden has a secret talent for breakdancing? Well, maybe not, but wouldn't that be something to see? Okay, back to the chart review.

As we look ahead to the next chart week, we can't help but be excited about the potential surprises and new entries that await us. Will there be another breakout hit? Will our favorite artists continue to dominate the charts? We'll just have to wait and find out.

Thank you, dear reader, for joining us on this chart review journey. Your support and enthusiasm mean the world to us. We'll be back next week with more exciting updates from the UK Singles Chart. Until then, keep grooving to the music and stay tuned for what's to come. See you next time!

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My Top Posts in 2022:

#5

No matter what guys don't forget that

BEING GREEN IS

BEING GREEN IS

See the full post

118 notes - Posted May 11, 2022

#4

Mika giving us what we've all asking the whole week

238 notes - Posted May 15, 2022

#3

The funny thing about Romania's song is that llamame in greek sounds like γάμα με which means fuck me and I think that's beautiful

511 notes - Posted May 14, 2022

#2

IT just felt right

855 notes - Posted May 14, 2022

My #1 post of 2022

HOLY SHIT IT'S BACK

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#text post - 200 posts

#pepa x felix - 174 posts

#regina mills - 171 posts

#konstrakta - 137 posts

#anonymous - 137 posts

#eurovision - 126 posts

Longest Tag: 130 characters

#did you know that not taking the thing that helps your brain make dopamine when you’re already low on dopamine makes things worse?

My Top Posts in 2022:

#5

Me: *hits replay on In Corpore Sano for the 238th time*

Spotify: there are 39 other entries this year, do you want to listen to any of them?

Me:

292 notes - Posted May 9, 2022

#4

Pepa: I made a hurricane on my wedding day and it ruined everything!

Félix, probably: holy shit my wife is so powerful I love her so much

311 notes - Posted February 1, 2022

#3

Something I haven’t seen discussed here on Tumblr is the dichotomy between science and religion in In Corpore Sano. Most people can see that Konstrakta is dressed like a healthcare worker, head to toe in white, but not everyone knows the significance of the people surrounding her dressed in black. They strongly resemble Orthodox priests (Serbia is an Orthodox Christian country). Along with them, the melody itself has a very liturgical feel to it, especially that “Bože zdravlja” chant (entreating God to grant health). If you don’t have health insurance (“nemam knjižicu”) and the healthcare system has washed its hands of you (quite literally performed by Konstrakta), religion can feel like the only place to turn in the hope for good health. And then if that doesn’t work either, the priests are already there to perform last rites.

342 notes - Posted May 5, 2022

#2

Carolina Gaitán before recording Pepa’s lines in English: *sipping tea* okay let’s do this

Carolina Gaitán before recording Pepa’s lines in Spanish: *throwing back double espresso* okay let’s DO this!!

372 notes - Posted March 5, 2022

My #1 post of 2022

…anyway

BITI 👏 ZDRAVA 👏 BITI 👏 ZDRAVA 👏 BITI 👏 ZDRAVA 👏 BIT ✋ BIT 🤚 BIT ✋ BITI 👏 ZDRAVA 👏

472 notes - Posted May 14, 2022

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[eurovision-revisited]

Eurovision 2003 - Number 35 - Slobodan River - "What a Day"

Welcome to one Estonia's enduring Eurovision legends. Slobodan River is a certain Stig Rästa's first band. He's there, looking very young indeed. Together with another Eesti Laul Eurovision name, Tomi Rahula, producer of the entire competition from 2019 to 2023. Singing is Ithaka Maria aka Maria Rahula completing the band line-up.

For all of them, this is their first time preforming at Eurolaul, but Tomi and Maria have already had two songs competing as song-writers, and one of those songs was a certain Mere Lapsed sung by Koit Toome at Eurovision giving Estonia a 12th place finish in 1998

What a Day is a Baltic indie-pop banger plagued by so much dry ice you can barely make out the backing singers or the band through the mist. Lyrically, well, it's not so subtle. This appears to be a song about alfresco canoodling and woman who seduces the mind out of the subject of the song with her beach-based sexuality. It's... ...direct and to the point.

There are a lot of long-held notes in the chorus along with a heavy rhythmic pulse and a repeating, very standard four-bar chord progression. It's a song that has to move as fast a heart can pound while Maria cries over the top of it. Maria, her red hair and white outfit is not so much the focal point of the performance, as pretty much the only thing we get to see. She seems very pleased at the end of the song.

Maybe the lyrical content or the unrelenting central progression at the song's heart were what led to it only finishing joint 7th of the 10 songs competing at Eurolaul. Obviously this was not the end of the story for any of the band. All of them were back in 2004 as Slobodan River again, thereafter they entered again as individuals, members of new bands and even more often as song-writers. Stig made it to Eurovision stage in 2015, Tomi ran Eesti Laul through some of its more successful years and Maria went on to become Miss Estonia in 2018 at the age of 39 and as a mother of 3.

Before the split up in 2006, they did release one album, 2004's Surrounded featuring many of their best known songs including this one.

[ryttu3k]

Going through Tumblr’s Year in Review posts! Which is pretty much just pointing to stuff and going, “I like that!”

Top 22 of 22: Hilariously, nothin’ but Halloween (20), since I’m not really involved with Pokemon (7) or Star Wars (13) any more. Alas! I do intend to watch Our Flag Means Death (9) but haven’t got to it yet.

Ships: Ineffable Husbands rise eight places to 18. Thasmin debuts at 50 and will probably go no further. Korrasami drops 52 places to 84, whew! Zelink drops even further, 55 places to 92, and Griddlehark debuts at 94.

TV Shows: Doctor Who rises two spots to 15, Good Omens drops 6 places to 21. The Eurovision Song Contest drops 16 spots to 32 (see, this is what happens when you don’t have enough Maneskin), and Steven Universe drops 20 spots to 44.

Movies: Lord of the Rings holds steady at 4. It's not on the book list so I guess this includes both. Curiously, the only Star Wars movie to make it is... Revenge of the Sith, debuting at 41? Odd, but kinda neat!

Tumblr Communities: Don't generally post to these, but I do like occasionally checking up on Writers on Tumblr (rises one place to 3), Bookblr (rises eight spots to 6), Simblr (rises one place to 9), ActuallyAutistic (steady at 11), and Jumblr (rises six places to 22).

Dashboard Diving: An analysis of... Tumblr culture, I guess? Irony vs earnestness, and enjoying old stuff.

Space: Spaaaace!

Bands: Maneskin debuts at number 6! And Florence + the Machine rises 37 places to 13, dang! Pink Floyd drops 3 places to 39.

Web Series: Is Dracula Daily really a web series? Either way, it debuts at 4.

Memes: Already reblogged. Good shit.

Video Games: Sims 4 holding steady at 10, Stray debuted at 13 (never mind the VGAs, bby, you’re my GOTY). Breath of the Wild dropped six places to 18, but will no doubt be replaced next year by the skyrocketing Tears of the Kingdom, which debuted at 35. Skyward Sword also dropped two to 40. Flight Rising dropped two to 21, and fascinatingly, Pokemon Black and White debuted at 37!

Video Game Character: Link drops ten places to 13. Tragic!

Books: Dracula debuts at 2, beaten only by Percy Jackson, and the two forcing HP down to third! Nice nice. Locked Tomb rises six places to 4! Prayer circle for Alecto’s release next year to bring it to number 1! Yeah, Lord of the Rings is definitely listed under Movies, because the Silmarillion is at 11. Vampire Chronicles debuted at 24, presumably because of the show, and Animorphs rose eight places to 28. Not bad! Maybe next year I’ll do a reread...?

[ayakashibackstreet]

I posted 7,730 times in 2022

That's 1,355 more posts than 2021!

533 posts created (7%)

7,197 posts reblogged (93%)

Blogs I reblogged the most:

@mihai-florescu

@dingdongyouarewrong

@junecsea

@aceteling

@halloweentual

I tagged 3,518 of my posts in 2022

#ensemble stars - 370 posts

#idolish7 - 239 posts

#video - 159 posts

#eurovision - 148 posts

#oc tag - 114 posts

#vanitas no carte - 113 posts

#the world ends with you - 87 posts

#idolish7 spoilers - 81 posts

#feel good - 75 posts

#touhou - 69 posts

Longest Tag: 139 characters

#which is funny in comparison to the guy from my group who referred to our teacher as あんた a few times and barely has a grasp on keigo at all

My Top Posts in 2022:

#5

Best Enstars ships:

everyone/therapy

Wataei

22 notes - Posted April 18, 2022

#4

I'm normal, I'm normal, I'm normal

23 notes - Posted April 20, 2022

#3

The running order is out, wooo!

24 notes - Posted March 29, 2022

#2

It's been brought to my attention that some of you may not know about Turnabout: An Ace Attorney Musical, or may not know that the first act dropped today, so now you know.

39 notes - Posted November 26, 2022

My #1 post of 2022

See the full post

40 notes - Posted June 23, 2022

Get your Tumblr 2022 Year in Review →

[waehlscheibe]

I posted 575 times in 2022

39 posts created (7%)

536 posts reblogged (93%)

Blogs I reblogged the most:

@vultureseye

@yesyoutubeisruiningmylife

@sergeantjessi

@galpalkirk

@korrainasamisjacket

I tagged 180 of my posts in 2022

#esc - 63 posts

#eurovision - 40 posts

#finfin - 19 posts

#fin fin - 13 posts

#star trek - 8 posts

#mo dao zu shi - 8 posts

#fin fin on teo the magic planet - 8 posts

#esc 2022 - 8 posts

#amazing art - 6 posts

#death note - 5 posts

Longest Tag: 100 characters

#how does one grow up when your family has a garden where you can just decide what to plant and stuff

My Top Posts in 2022:

#5

Vote for San Marino!

23 notes - Posted May 12, 2022

#4

Sorry England this year Germany will take the last place!

39 notes - Posted May 12, 2022

#3

See the full post

132 notes - Posted August 30, 2022

#2

Karaoke video of FinFin come and see him.

From “FinFin on Teo the Magic Planet” (1996)

Come and sing for him!

(Posted in celebration of the double lunar eclipse 2022)

152 notes - Posted August 30, 2022

My #1 post of 2022

383 notes - Posted September 8, 2022

Get your Tumblr 2022 Year in Review →