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wallflowergirl2006 · 2 months

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My DDLC + OCs Headcanons-

I was bored and decided to this instead of being productive. (JKJKJK!!)

Monika- Cis girl (She/It) but in a forest deity type of way. Definitely has a love for music (Piano) and poetry. She is very much a lover girl when she falls in love with someone. Definitely neurotypical (I can’t pick up any ND vibes from here.) Pansexual Icon OFC! Definitely listen to that one Keyshia Cole song “Love” and Laufey. Has a bit of obsessive tendencies but not as much as Yuri. Definitely prefers tea over coffee. Still very much a perfectionist but is trying to get better at taking breaks when she needs it. I also headcanon her to be Swedish. (She’s a bit delulu 😺)

Sayori- Agender (She/They) She doesn’t really care how you refer to her as long as isn’t rude. Definitely Onmisexual (Pref for Guys) They have signs of ADHD but it was never confirmed whether she has it or not but the signs are there. (Parents didn’t get her checked out.) She prefers cold/warm foods and drinks. <— (Projection) She’s not a fan of people who dislike their friends or people who bash their friend’s interests. She definitely has depression if you know her well enough you can tell when their mood changes or when their happy go lucky facade is breaking. Sayori likes milk but prefers strawberry milk over chocolate. She definitely listens to Taylor Swift and Meghan Trainor. (Definitely listen to Love Story by Talyor on repeat.)

Yuri- Demigirl (She/Her) She is a girl but not at the same time. She is lesbian demisexual in my opinion. She gives off Toriel (Undertale) vibes. She loves horror but something tells me she likes reading about women’s history as well. (Specifically Jeanne d'arc, Emilia Plater, and Empress Sisi’s stories.) I headcanon her to have Autism <— (Projection) and some obsessive traits. I also hc that she, Imogen (OC), and Sayori go to therapy together. She also doesn’t like to admit it but she sometimes likes reading with Natsuki. (I like to think that they trade books with each other but they think of each other as well.) (Like Natsuki will maybe pick up a Manga that has a few scary elements in it for Yuri while Yuri will try to find a horror or thriller book that is not too scary for Natsuki.) Definitely listen to Mitski, Marina and maybe The Neighborhood.

Natsuki- Transfem (She/Her) I hc her as Bi-Questioning. Like she knew she liked men but when she looks at pretty girls she can feel her heart flutter and a small blush spread across her face. (She also started to question herself when she noticed herself liking some females in the manga she reads.) She definitely has a lot of anxiety from her father’s outbursts. Which developed a lot of problems for her like being very reserved, she tends to push people away and has built a very high wall to keep people out but she desperately craves friendship and something like a sisterhood. (Examples: SSO: The Soulriders, MLP: The Mane 6, or even the Mario Princess: Peach, Daisy, Rosalina, Pauline (Ik Pauline isn’t a princess but shhh 🤫) and she loves Manga and short stories. Listen to Lana Del Ray, Olivia Rodrigo and possibly Mother Mother.

MC- Demiboy (He/They) Definitely Aroace (Specifically Lithromantic Gray-Ace) He is very much neurotypical. He originally came to the clubroom to get with the girls but after a while his attraction towards the girls faded and they kinda stayed because they liked the girls company and because he was getting the hang of poem writing thanks to Monika. They give off Kris vibes from Deltarune. (Appearance wise) Very much introverted and socially awkward towards people and is a bit dense. He is a gamer but tends to stick to chill games rather than action pack ones. (Ex: Stardew Valley, Abzu, Animal Crossing.) But on rare occasions he does play Detroit becomes human, Untitled Goose Game, and Life is Strange. Listens to Will Wood, Pitbull, and James Arthur.

(OC) Imogen- Cis Straight Girl (She/They) Has Audhd (Autism and ADHD) and Social Anxiety Has a hard time making friends due to her autism and social anxiety making her a loner at school. <— (Projecting) Surprisingly MC was the one who came up to them and asked them to join the club. They were hesitant at first but MC reassuringly told her that it would be a great opportunity to make some friends and when she heard the word “friends” she immediately said yes. They love Greek Mythology and Dystopian themed books and they also indulge in romance books. They also happen to be a gamer as well. She mostly plays adventure games and some visual novels. (Ex: Sky: Children Of Light, Never Alone, Starshine Legacy, and Slay The Princess.) Imogen and MC watch each other play sometimes. (Like he could be playing Animal Crossing while Imogen is playing SSO {Star Stable Online} ) Very very much on the introverted side but is very passionate to talk about her interests. Also she listens to Beach Bunny, Kesha, and Loreen.

They are also in a QPR with their partner Zane.

(OC) Zane- Nonbinary (He/They) Aroace (Cupioromantic & Asexual) Neurotypical as well. He was a very extroverted person with any person they interacted with. Before they came to terms that they were Aroace they tried so hard to get those “romantic feelings” but every time he tried it always failed. He gave up on love for a bit but then a pretty girl (Imogen) came and invited them to a literature club? He decided to go with it and join the club. He is very much an expert at poetry but the literature he enjoys is Mystery and Graphic Novels. They give off great big brother vibes.. Is pretty much a big goofy teddy bear. Developed queerplatonic feelings for Imogen. They were the one who asked her out because she was too anxious to do so. Listens to Cavetown, Alec Benjamin, and Bo Burnham.

All together HCs-

MC and Sayori were both best friends when Imogen joined the two. Sayori immediately invited them with open arms.

Natsuki and Zane both team up to try to convince Monika and Yuri that manga and graphic novels are literature.

Imogen suggests that they could do book reviews and recommendations sometimes for a club meeting instead of just doing poems.

Like I said before Yuri, Sayori and Imogen are therapy buddies (They're also trying to get Natsuki to go to therapy but Natsuki is stubborn and says that she doesn’t need therapy.) (She very much does need it 😹)

Yuri and Natsuki spend time with each other in bookstores, cute cafes and maybe even at Yuri’s house doing a variety of things. From reading to binge watching shows to listening to random podcasts and music.

Monika and Sayori are such hopeless romantics wanting to be loved and appreciated by a significant other.

Sometimes the group will go to someone’s house and watch movies together. Everyone gets there early so everyone can have a turn picking a movie.

Zane is a very affectionate person while Imogen is very touch starved and she literally melts when Zane shows her any form of affection.

Everyone in the club has codenames for when they're talking shit about someone (That’s not in the club..)

Everyone cares and loves each other in many different ways.

Yuri and Monika often try different teas together and tell each other how they feel about it.

Yuri, Zane, and Imogen get along really well because of interests in books.

Sayori tries her best to help Natsuki with her eating habits. (Like sharing her lunch or carrying around an extra snack.) and Natsuki bakes Sayori some yummy treats in return for her kindness but not without saying that she was only doing it because she didn’t want to owe her anything.

That’s about it.. (Not doing ships unless it’s for my OCs.)

(Also Tell Me Why I Had Such A Hard Time Spelling Straight??? 😹😹)

#doki doki literature club #ddlc #ddlc sayori #ddlc monika #ddlc yuri #ddlc natsuki #ddlc mc #ddlc headcanons #ocs #my ocs

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campcrow2 · 1 year

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I will never forgive Meghan trainor for that dumbass song mother….how DARE you sample an iconic song like Mr. Sandman and ruin it.

#sorry to her fans #but….it’s not good #and does anyone call her mother???#cuz….is she?#not to my gay ass

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sokkas-first-fangirl · 1 year

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♫ + Dot Warner 💗

Dot, my feral queen 💕

Without choosing the iconic "I'm Cute," I'd have to go with "Me Too" by Meghan Trainor

Bringing back my Dot Warner playlist for this too 👀👀

#answers #asks #ask game #music game #dot warner #princess angelina contessa louisa francesca banana fanna bo besca iii #animaniacs #dot my beloved

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aelswiths · 2 years

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This past week I reached 100 followers!! I’m incredibly excited, so to celebrate I’ve decided to run a challenge!

Since everyone had a blast with the Party Rock Anthem edit series during the tlkafterparty, I've decided to base the challenge prompts on party songs. All the prompts are inspired by songs from the 2010s (with a few 2000s bangers sprinkled in).

There are 60 prompts in total, each one is a song title. I’ve broke the prompts out into four separate categories based on vibes 😎.

You don’t have to follow me to participate. The more people who join the better!!!

See below for the Rules, Deadline, and Prompts.

Rules:

You can fill out however many prompts you like! There isn’t a limit to how many you can do and there isn’t a limit to how many times a specific prompt can be filled. Feel free to also combine prompts if you want to.

Prompt fills can be edits, icons, moodboards, fics, videos or anything you come up with!

Please tag me and use the tag #aelflaeds100challenge so that I know you’ve made something.

All TLK characters and ships are welcome!

The prompts can be used in anyway.

Some examples on ways to use the prompts:

The song/title/artist reminds you of another song that’s not on the list, so you could use that other song to fill the prompt.

The song/title reminds you of another work, like a poem or a book, so you could use that other work to fill the prompt.

You could base your prompt fill on the title/song/artist only, if you want to create a moodboard the title could be the theme or if you write a fic you could incorporate the song lyrics or artist into it.

If you end up wanting to use another song I only ask that you keep it within the 2010s timeframe. If there is a specific song you would like to use and its not from the 2010s please reach out to me and we can discuss it.

Deadline:

The challenge will officially run from September 10th to December 10th, but if you can’t make it until after that deadline don’t worry!!! Submit whenever you can, the more participation the better :)

If you have any questions feel free to reach out or drop a note in my inbox!

Prompts:

White Girl Wasted

TikTok by Ke$ha

Bang Bang by Niki Minaj

California Gurls by Katy Perry

Last Friday Night by Katy Perry

Call Me Maybe by Carly Rae Jepsen

Blah blah blah by Ke$ha

We R Who We by Ke$ha

All About that Bass by Meghan Trainor

That’s Not my Name by The Ting Tings

Single Ladies by Beyoncé

Raise Your Glass by P!nk

Starships by Niki Minaj

S&M by Rihanna

I’m so Fancy by Iggy Azalea

Partition by Beyoncé

Primadonna by Marina and the Diamonds

Worth it by Fifth Harmony

Side to side by Arianna Grande

Party Rock

Uptown Funk by Mark Ronson & Bruno Mars

Sorry For Party Rocking by LMFAO

Dynamite by Taio Cruz

Talk Dirty by Jason Derulo

I Gotta Feeling by The Black Eyed Peas

I’m Sexy and I know it by LMFAO

Fireball by Pitbull

Gangnam Style by PSY

Club Can’t Handle Me by Flo Rida

Scream & Shout by will.I.am

Don’t Stop the Party by Pitbull

Time of Our Lives by Pitbull & Ne-Yo

Wild Ones by Pitbull

Die Young by Ke$ha & LMFAO

My House by Flo Rida

A Little Party Never Killed Nobody by Fergie

On The Floor by Jennifer Lopez

Feel Good Vibes

Viva La Vida by Coldplay

Counting Stars by One Republic

Shape of You by Ed Sheeran

Chasing the Sun by The Wanted

Evacuate the Dance Floor by Cascada

Dancin by Aaron Smith

Shut Up and Dance by Walk the Moon

Only Girl in the World by Rihanna

Payphone by Maroon 5

DJ Got Us Fallin’ in Love by Usher

The Good, The Bad, and The Dirty by Panic at The Disco

Cake by the Ocean by DNCE

My First Kiss by 3OH!3

Mmm Yeah by Austin Mahone

Black Magic by Little Mix

Karaoke

Baby by Justin Beiber

Rolling in the Deep by Adele

Telephone by Lady GaGa

Poker Face by Lady GaGa

Shake it off by Taylor Swift

We are young by FUN.

We Can’t Stop by Miley Cyrus

Titanium by David Guetta

Just Dance by Lady GaGa

Party in the USA by Miley Cyrus

Too Late to Say Sorry by Justin Beiber

#aelflaeds100challenge #the last kingdom #its here guys!!#I hope you all have fun and enjoy this!

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notravian · 1 year

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the way meghan trainor desperately wants to be a gay icon without serving once

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cyarsk52-20 · 4 months

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When these songs were played on the radio, we shook with dread. Here’s the songs that we wished we could unlisten

p.s: toxic gossip train by colleen ballinger aka Miranda sings isn’t included because it’s basically another tone deaf YouTube influencer/celebrity apology video except it’s a lot worse than the typical influencer apology videos and thats saying something . Unfortunately there’s also no dishonorable mentions on this list but songs like lil mabu “mathematical disrespect “, Morgan wallen “last night “ , the steve aoki remix of The Beach Boys classic “fun , fun , fun “, and any song from Tom Macdonald and Adam Calhoun collab album “the brave 2” among others have received mixed to negative reviews (although some of the songs that have been featured on hated songs lists have also garnered positive reviews as well in this case with Morgan wallen)

btw, if you enjoy any of these songs more power to you, everyone’s got their own opinion and taste of music and that’s fine.

what song did you love this year?

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Dec 22, 2023 8:25am PT

The Worst Songs of 2023

Chris Willman, Steven J. Horowitz

Awfulness in music came in so many forms in 2023. Nothing makes for a good annus horribilis like songs that promote xenophobia, racism or just overall divisiveness in the interest of trolling — so here’s a round of Fudge Rounds for strange bedfellows like Jason Aldean and Kanye West. But it’s understandable if you might think that the real scourge of the last year was the plague of songs built on lazy interpolations, which manage to ruin perfectly fine oldies as well as introduce fresh rottenness into the world. We’re looking at you, David Guetta, Jason Derulo, et al.

Is there anything much worse than a remake no one wanted — see 2023’s prime offenders, Fall Out Boy? How about the phenomenon of bad self-remakes… hello, Roger Waters? Duets Mixing sex, drugs and race into a questionable cocktail landed the combination of Travis Scott and the Weeknd on our list. Meanwhile, all due credit is due when someone seems to be inventing a brand new subgenre of cringe as effectively as Meghan Trainor does on the unfortunately unforgettable “Mother.”

Here’s a 20-song sampling of the misbegotten tracks from this past year that most made our ears bleed, or our spirits, or both.

'Try That in a Small Town,' Jason Aldean

Aka “Try That in a Sundown Town.” This was a year when other country stars were making huge crossover strides, inviting curious new fans and even international markets to check out the genre. And what was Aldean’s contribution to that welcoming wave? Releasing a hostile anthem of proud xenophobia that basically amounted to putting up a “Stay the hell away… or else” sign. His defense of the song was that no one could be against the violent crime described in some of the lyrics, but these words — which sound like they were assembled in random order in a five-minute writers’ room session — weren’t nearly coherent enough for anyone to definitively state what the song is against, besides the big city. Legitimate protests were conflated with carjacking, both meriting a vigilante beatdown. (Also the epitome of big-city life: “cussing out a cop”… something that has never, ever happened outside a small-town bar, we’re certain.) As far as setting the music video in a historically well-known lynching setting, let’s be generous and give Aldean credit for not knowing about that sinister history before he shot the ominous visuals there. We could even give him credit for proabably not being consciously aware of how much the lyrics echoed the anti-civil-rights threats made in small towns in the ’60s. Now, imagine if we could just give him credit for something greater, like being a country music uniter instead of divider. Or just picking less hacky songs. —Willman

'Vultures,' Kanye West and Ty Dolla Sign featuring Bump J

“How am I antisemitic? I just fucked a Jewish bitch.” Enough said. —Horowitz

'We Didn’t Start the Fire,' Fall Out Boy

Imagine the brainstorming session behind Fall Out Boy’s rewrite of the 1989 “classic.” “Let’s remake a Billy Joel song! Our fans are clamoring for it.” “Great! What’s one of his most beloved songs?” “Too easy. Let’s go for the one universally considered most annoying — not only in his catalog, but maybe of the 20th century.” “Awesome idea. But should we update the lyrics?” “Of course, but only if we put everything in completely random, non-chronological order, unlike the original. Our only criteria should be to make the juxtapositions as jarring as possible.” “Cool — I was thinking ‘Afghanistan’ next to ‘Cubs.’ Hey, what rhymes with ‘John Bobbitt’? Did ‘The Hobbit’ get published after ‘89?” “Just make it ‘Bobbitt, John.’” “But we do need to maintain a rhyme scheme through the whole thing, right?” [Dirty looks are exchanged as the clock shows 12 minutes of studio time remaining.] —Willman

'Baby Don’t Hurt Me,' David Guetta, Anne-Marie and Coi Leray

We’ve apparently come to the age in time where sampling tracks from the 1990s — or even the early aughts — has become de facto, encouraged even. And it was a perennial stitch in 2023’s side. Sampling in and of itself is an art form, and when done effectively, it can transform the master track into something new and inspired (see: Beyoncé’s “Renaissance”). Which isn’t the case for David Guetta’s “Baby Don’t Hurt Me,” an empty rehash of Haddaway’s 1993 club smash “What is Love.” “Baby Don’t Hurt Me” feels stiff and sapped of vitality, a recreation of a classic without intent. Guetta has had a decades-long career translating the sound of the club into something more palatable for top 40 listeners, and this signals a misstep. —Horowitz

'Money,' Roger Waters

I’m not even one of the people that thought it was inherently a bad idea for Waters to remake the entirety of Pink Floyd’s “The Dark Side of the Moon” album as a solo effort, with subdued instrumentation and mostly whispered vocals. It’s… interesting. And “interesting” counts for at least a little when it comes to what mostly set-in-their-ways classic rockers are up to in 2023. But, that said, there’s something deeply perverse about doing a remake of one of the most-loved songs in the 1970s rock canon, cutting out the instrumental solos, and replacing David Gilmour’s contribution in the middle of the tune with a four-minute poem about… boxing. Well, not really about boxing, I’m sure, but I haven’t summoned the will to parse the actual metaphorical meaning of muttered lines like “Through toad lids he squints his vision of the world.” If you’re looking for positive assessments of this bizarre re-do, it’s no surprise that they’re giving none away. —Willman

'Mind Your Business,' Will.i.am and Britney Spears

Listeners were quick to call Will.i.am’s bluff on “Mind Your Business” as a collaboration with Britney Spears that was scooped off the cutting room floor. And wouldn’t you know, it was. The Britney Army has long been skeptical of the Black Eyed Peas frontman, namely for his contributions to the underwhelming “Britney Jean,” and while prior collaborations including “Scream & Shout” and “Big Fat Bass” generally escaped the pitchfork’s pointy end, “Mind Your Business” took the brunt full-on. There’s nothing original happening here, and the canned synthesizers suggest that Will.i.am’s musical sensibilities are stuck in 2009. (Or, 2000 and late, if it were.) Where Spears’ duet with Elton John on “Hold Me Closer” felt tasteful (even if it plays like marketing as music), the release and sound of “Mind Your Business” couldn’t have been more poorly timed. Clearly, with Spears fresh out of a conservatorship, the last thing she needed was to revisit blunders of the past. —Horowitz

'Vulgar,' Sam Smith and Madonna

One of the reasons that Sam Smith’s 2023 album ‘Gloria’ so effectively resonated is because it positioned the singer as a star reborn anew, confidently embracing their sexuality in a pop arena that’s rarely accepting of such liberating queerness. “Vulgar,” their one-off collaboration with Madonna timed specifically to Pride month, flung that notion off the deep end. An overt bid to cater to ball culture, the track sees Sam and Madonna (get it? S&M?) settling beneath their artistic integrity, with production that sounds like a ‘Drag Race’ runoff and a severe lack of performative dynamism. Those seeking a melody will come up empty-handed by the song’s end, left with mere hollow, iconoclastic boasts with little to justify it. —Horowitz

'Rich Men North of Richmond,' Oliver Anthony Music

He came so close — so close! — to being able to claim an anthem for a working-class generation that just about everyone could claim some sympathy for. The non-specificity of most of the lyrics could have led it to be embraced by both right and left, even if they didn’t agree on which Washington fat cats or which money-wasting government policies he was protesting. But then he had to go and punch down… and despite his disavowals, there’s no other way to read the “5’3″ and 300 pounds,” except as some kind of right-wing editorial-cartoon caricature of welfare recipients. Victim-blaming? Oh, fudge. —Willman

'Search & Rescue,' Drake

Credit goes to Drake for his ability to maintain his chokehold on music this far into his career. His eighth album “For All the Dogs” arrived in October as an overblown compendium of songs that feature Drake being Drake, with largely strong returns (at least, according to his devoted fan base). But he warmed up audiences with one of his snooziest attempts to date in April with “Search & Rescue,” a song that’s by no means offensive but feels like a half-attempt. Drake is at his best when he actualizes a thought in its entirety, and “Search & Rescue” scans as shapeless, something akin to a stream-of-thought freestyle that escaped the studio. Woe-is-me Drake is often when he glimmers brightest, and yet his yearning for a partner to meet him eye-to-eye lands uninspired. —Horowitz

'I Won’t Back Down,' Lara Trump

One of the more tertiary of the Trumps offers a “Come and get me, coppers!” cover of one of Tom Petty’s greatest songs, practically daring the Petty estate to try to take it down, after the heirs’ previous public disapproval of her dad-in-law using it at rallies. Instead, it met the fate met by most amateur crooners using a cover to try to break into the biz: invisibility. Maybe we could recommend some other selections from the ex-president’s rally playlists for Lara to try her hand at, like “YMCA,” as long as she’s not backing down from a music career. —Willman

'Mother,' Meghan Trainor

Meghan Trainor has had nine lives in the pop industry, and rightfully so. Since she hit it big with “All About That Bass” in 2014, she’s consistently defied the odds by doing what she does best: crafting unshakeable pop songs that break through whatever noise surrounds her. Last year, she did it yet again with “Made You Look” on the back of a TikTok trend that found crossover ubiquity. But lightning rarely strikes twice in a row these days in pop music and “Mother” couldn’t touch down. In a year of songs bursting with samples, “Mother” rebuilds The Chordettes’ “Mr. Sandman” as a double entendre, referencing her literal motherhood and the more colloquial definition of being “mother.” What results is a schticky putdown of overzealous men that weirdly crams “mansplaining” into the chorus. “Mother” slots musically into her discography, but it’s simply unforgivable to use the “bum bum bum” sample to refer to someone as a bum.

'Boycott Target,' Forgiato Blow and Jimmy Levi

It’s a hip-hop song that comes Marjorie Taylor Greene-endorsed, so you know it’s gotta be good. Forgiato Blow, a self-described “MAGA rapper,” went into an actual Target store to shoot the video for this proudly homophobic and transphobic protest song, which rails against the chain “targeting your kids.” And as evidence that Target is going after children, the video shows the rapper brandishing Bud Light and champagne with a rainbow label, two products obviously aimed at tykes. “We need а clean-up on every aisle / Inside this storе Satan resides / Wash it with the blоod of Christ… / God is coming for revenge,” they rap. At least they resisted the temptation to portray blood flowing through the beer section, but there’s probably only so much you can accomplish in a five-minute rogue video shoot. —Willman

'Hands on Me,' Jason Derulo featuring Meghan Trainor

The interpolation craze may have hit rock-bottom with this soul-destroying adaptation of Ben E. King’s “Stand by Me”… which, take it from me, could ruin your appreciation of that classic oldie forever. (Do not click on the video, above. You’ve been warned. We place it there only in the hope that, like “The Grudge,” the curse can be passed on.) Surely whoever owns the publishing for this 1961 Lee/Leiber/Stoller composition violated some federal law by allowing this desecration. If not, now is the time for Congress to act to avoid similar tragic violence in the future. As much as the musical arrangement packs a kind of bubblegum it’s hard to imagine anyone over the age of 9 cottoning to, the lyrics are right out of an old-school porn scenario: Derulo tells his foxy neighbor she can come over to borrow some sugar any time, so she comes over dressed in a robe, which, according to his reportage, she drops as soon as she’s in the front door. “I won’t be afraid,” Derulo sings, in the only line left over from “Stand by Me,” but anyone exposed to this veritable horror movie should be afraid… very afraid. —Willman

'My Body,' Coi Leray

This isn’t a knock on Coi Leray as an artist whatsoever. In fact, over the past few years, the Grammy-nominated artist emerged as one of the most promising young emcees with her punctual rhymes and fluid ability to toggle between a rap-sung cadence. But the buck stops at “My Body,” a single included on her 2023 album “Coi” that crassly samples Leslie Gore’s classic “It’s My Party.” On it, she transforms the naïveté of the source material into an exercise in self-aggrandizement: “It’s my body, I could fuck who I want to / It’s nothin’ new, you just mad it ain’t you.” Where rappers of yesteryear have mutated big band songs into fresh takes—Missy Elliott’s “Big Spender” comes to mind—“My Body” feels like a stumble, one that leans on nostalgia without offering anything of value. —Horowitz

'K-POP,' Travis Scott featuring Bad Bunny and the Weeknd

This counts as a bit of a troll — tricking some music fans and search engines into thinking the song is a salute to Korean pop when it’s really about the seductive effects of the ketamine lollipops pictured in the single art and video and loosely described in the lyrics. When Scott and his guests put this out back in July, it was many months before ketamine became most famous for apparently killing off one of television’s most beloved stars, so maybe the pro-drug stance of “K-POP” shouldn’t be judged by December 2023 standards. Still, if you were thinking it’s possible to make a good song about the drug, this wasn’t it, marking a low point on a Scott album that was otherwise pretty well-received. Naturally, the Weeknd’s guest verse had all the quotably decadent lines you’d expect (“We gon’ fuck till we seasick,” etc.). And he was the one who brought race into it: “Even though she Korean / Get her wet like tsunami.” There’s no double-entendre like the kind where all the entendres are equally risible. —Willman

'Cinderella Snapped,' Jax

Where to begin. Jax may not be a household name, but listeners may recognize her as a third-place finisher on “American Idol” or, later, a TikTok star. While she’s been releasing music for years, she hit her mainstream stride last year after “Victoria’s Secret,” a body-positivity anthem that took the lingerie company to task, became her first single to chart on the Billboard Hot 100. The from-the-hip lyrics resonated with fans seeking a takedown of the impossible cultural standards imposed on women. But on her follow-up, “Cinderella Snapped,” Jax invokes Disney princesses and reimagines their storylines to cringy effect. “Rapunzel shaved their head so there was nothin’ to climb on / Jasmine made out with Mulan / Sleeping Beauty sued the dude who kissed her while she was asleep / And Ariel was confident without any feet,” she sings. It trudges on from there. Fantasy is nothing new to pop music, but attempting a rewrite of the entire Disney oeuvre to shoehorn unintended narratives feels antithetical to the magic of what made those stories so endearing in the first place. Sure, the intention here feels genuine, but the execution is farcical at best. —Horowitz

'Alone,' Kim Petras featuring Nicki Minaj

What was poised to be Kim Petras’ solo breakthrough following the runaway success of “Unholy,” her collaboration with Sam Smith, ended up fizzling upon arrival. Billed as her “debut album” (despite the fact that she has numerous “debut albums” on her resume), ‘Feed the Beast’ felt less like the glossy risk-taking fare that largely drives her discography and more like a thin, conventional bid for mainstream crossover. There are certainly bright spots on the album—“Uh Oh” and “Revelations” rightfully earned spots in the Petras hall of fame—but it was with the lead single “Alone” featuring Nicki Minaj that the momentum slowed to a crawl. Mining from a sample of Alice Deejay’s classic ‘90s club banger “Better Off Alone,” the single strips away the urgency of the original, cutting the pace nearly in half for a trudge of a single that could very well have tickled fans’ desires. Much of its detriment is due to the inversion of pace from verse to chorus: The drums pitter patter across the former, only to cut out as Petras hits her vocal stride on the latter. Remixes of “Alone” tried to course-correct, but the damage had already been done. —Horowitz

'Chevrolet,' Dustin Lynch featuring Jelly Roll

Speaking of Chevys — as Oliver Anthony was, earlier in this list — Lynch sings an ode to the brand with “Chevrolet,” which is set to a full-length interpolation of the Dobey Gray classic “Drift Away.” (Or should we say the Uncle Kracker classic “Drift Away”? Snce that 2002 cover is the likelier place for Lynch to have picked it up.) This song seems like it was crafted solely to get adopted by the carmaker itself for an ad campaign, the way that Applebee’s adopted Walker Hayes’ anthem after the fact. But the lyrics don’t exactly represent a realistic scenario. Lynch is trying to seduce a woman in a bar, and she’s telling him she wants to go get down in his Chevy, but since they just met, you’re thinking: Really? Bragging “I have a Malibu parked out back” was one of your pickup lines? Also, since the music is lifted entirely from “Drift Away,” did it really take three Nashville songwriters just to come up with lyrics so terrible you’d think not even one of them would want credit? —Willman

'Justice for All,' Donald Trump and the J6 Prison Choir

There’s a perception that you’d have to look to hip-hop to find as many felons or possible soon-to-be-felons gathered on one track, so thanks are due to the former president and the insurrectionists behind bars on his behalf for correcting that. —Willman

'I Wanna Be Software,' Grimes

Artificial intelligence became a prominent talking point in popular music over the past year, namely due to producer Ghostwriter gaining traction with an AI-generated track featuring mimetic vocals from Drake and The Weeknd. Grimes was just one musician quick to fall in line with the growing trend, encouraging musicians to use AI to resemble her voice on a track of their creation in exchange for a share of the profits. She took it one step further with “I Wanna Be Software,” and oh, how far we’ve strayed from the light. Where Grimes has built a career retrofitting experimental turns in electronic music into a pop format, she goes quite literal on “Software,” a computer glitch of a song that ambles as much as it wobbles. Over production that could very well be a Garage Band preset, she sing-raps about, you know, wanting to be software. “You can write me, you can design,” she deadpans. If only she’d put as much effort into the track itself. — Horowitz

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rockerfemme · 4 months

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I wish last Christmas got the same amount of attention like all I want for Christmas is you

doesn't it?? I think theyre both iconic and everyone knows them. my work has been playing exclusively xmas songs since like november and I also think the jonas brothers xmas song is fun and catchy. also meghan trainor's. its catchy but sooo annoying at the same time, imagine namedropping amazon in a song like ew wtf

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spinstrackingsystem · 4 months

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iHM, ESB to Host ”Holiday Pop Up Party with Jimmy Fallon”

iHeartMedia and the Empire State Building have announced the “iHeartRadio Holiday Pop Up Party with Jimmy Fallon” to bring holiday cheer to the neighborhood and celebrate Fallon’s new song “Wrap Me Up” with Meghan Trainor. From New York City’s landmark tower, the event is hosted by Elvis Duran and will broadcast across iHeartRadio stations nationwide on December 19. The Holiday Pop Up Party and broadcast will feature Fallon’s flip of the famous switch to kick off a special show of lights atop the Empire State Building synchronized to his song “Wrap Me Up.” The event also features an interview with Elvis Duran and a Q&A, all on the 80th floor of the iconic tower in the heart of New York. The 15-minute special will broadcast on iHeartRadio AC, Hot AC and CHR stations nationwide on December 19 at 9pm local time (6:45pm ET in New York City) and on the iHeartRadio Holiday Season Radio digital station at 9pm ET. Additionally, New York iHeartRadio stations Z100, 103.5 KTU and 106.7 Lite FM will play “Wrap Me Up” synced to the light show atop the Empire State Building every night from December 19-25 at 7pm ET. As a lead up to the Holiday Pop Up Party, Fallon will also host iHeartRadio’s Holiday Favorites, which will feature all holiday music introduced by the “Tonight Show” star. The takeover hour will kick off December 18 at 6pm local time on iHeartRadio AC and Christmas stations, and on the Holiday Season Radio digital station at 6pm ET. “I’m Read the full article

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newmusicweekly · 4 months

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iHM, ESB to Host ''Holiday Pop Up Party with Jimmy Fallon''

iHeartMedia and the Empire State Building have announced the "iHeartRadio Holiday Pop Up Party with Jimmy Fallon" to bring holiday cheer to the neighborhood and celebrate Fallon's new song "Wrap Me Up" with Meghan Trainor. From New York City's landmark tower, the event is hosted by Elvis Duran and will broadcast across iHeartRadio stations nationwide on December 19. The Holiday Pop Up Party and broadcast will feature Fallon's flip of the famous switch to kick off a special show of lights atop the Empire State Building synchronized to his song "Wrap Me Up." The event also features an interview with Elvis Duran and a Q&A, all on the 80th floor of the iconic tower in the heart of New York. The 15-minute special will broadcast on iHeartRadio AC, Hot AC and CHR stations nationwide on December 19 at 9pm local time (6:45pm ET in New York City) and on the iHeartRadio Holiday Season Radio digital station at 9pm ET. Additionally, New York iHeartRadio stations Z100, 103.5 KTU and 106.7 Lite FM will play "Wrap Me Up" synced to the light show atop the Empire State Building every night from December 19-25 at 7pm ET. As a lead up to the Holiday Pop Up Party, Fallon will also host iHeartRadio's Holiday Favorites, which will feature all holiday music introduced by the "Tonight Show" star. The takeover hour will kick off December 18 at 6pm local time on iHeartRadio AC and Christmas stations, and on the Holiday Season Radio digital station at 6pm ET. "I'm Read the full article

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cld-n · 9 months

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people saying can we go back to meghan trainor after the lizzo lawsuit can i be honest, there was time to establish another icon so lizzo wasn’t the only one js

#and don’t be so quick to find someone now to establish in place of her like elevate all of them tbh #good morning #i think of all wake up checks this one has been the most … hm

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warmpants · 1 year

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I really don’t understand how meghan trainor is trying to be some kind of gay icon while also literally having songs where she says shit like “take me back to when music was actually good!” (not hard to get what she means by her whole shtick) like okay? And where would your gay fanbase be then

#op

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suchananewsblog · 1 year

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Kim Petras Adds an Even Sexier Twang to Meghan Trainor Earworm 'Made You Look'

The party friend sure knows how to make a mom friend tap into their sexiness! On Friday, Meghan Trainor released a remix of her TikTok earworm “Made You Look” featuring vocals from “icon” Kim Petras. After the song’s catchy chorus of wearing luxury clothes (and stripping them all off), Petras dives in for a welcome sexy verse as she hits high notes and ad libs to accompany Trainor. “Don’t be…

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the-fandom-abyss · 1 year

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Soundtrack 2023

1. Homecoming Queen? - Kelsea Ballerini

2. Strangers - Halsey ft. Lauren Jauregui

3. Flowers - Miley Cyrus

4. Best of Me - A Day To Remember

5. Best Friend Breakup - Lauren Spencer Smith

6. I Miss The Days - NF

7. Temple - Tonight Alive

8. STAR WALKIN’ - Lil Nas X

9. When I Get There - P!nk

10. Better Version - FLETCHER ft. Kelsea

11. Still Alive - Demi Lovato

12. Red Flags - Mimi Webb

13. How I’m Feeling Now - Lewis Capaldi

14. Favourite Person - Peach PRC

15. CAREFUL - NF ft. Cordae

16. Special - Lizzo ft. SZA

17. The Pretender - Lewis Capaldi

18. Die 4 Me - Halsey

19. Whispers - Halsey

20. Shh…Don’t Say It - FLETCHER

21. About You - FLETCHER

22. Lilith - Halsey

23. Too Well - Reneé Rapp

24. UNHEALTHY - Anne-Marie ft. Shania

25. Iodine - Icon For Hire

26. Can I Shower At Yours - Amy Shark

27. Vampire - Olivia Rodrigo

28. Convenience Store - Heleina Zara

29. Dance the Night - Dua Lipa

30. Paint the Town Red - Doja Cat

31. What Was I Made For? - Billie Eilish

32. Give You Love - Jess Mauboy ft. Jason D

33. HAPPY - NF

34. Greedy - Tate McRae

35. Tell Me It’s Okay - Paramore

36. Nonsense - Sabrina Carpenter

37. Mother - Meghan Trainor

38. Poison Poison - Reneé Rapp

39. Last Hope - Paramore

40. Plastic - girlfriends

41. Bite Me - Avril Lavigne

42. Black Sheep - Metric ft. Brie Larson

43. exes - Tate McRae

#soundtrack 2023

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alphafightmusic · 2 years

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The Doo-Wap Queen is back!? Meghan Trainor has a New Album!?

“A wild Meghan Trainor has appeared!” is something I would say if I was traversing the city of Pallet Town in a Pokemon game. Literally had no idea Meghan was dropping a new album entitled Takin’ It Back. This took me by complete surprise because unlike Midnights and The Loneliest Time I wasn’t being constantly reminded of their existence by the constant fanfare and promotional advertising of their albums. I thought to myself “This girl has really fallen from grace”. Once a rising pop superstar, it seems like she has become an afterthought of Epic Records and another casualty of an artist on their way of having their work “shelved”. Meghan burst onto the scene with 2014’s “All About That Bass” an inescapable earworm which either made you want to get up and dance or stab your ears out. The song rocketed to #1 on the Hot 100 and made waves across the world. She followed it with multiple Hot 100 top 20 hits “Lips Are Movin’” (#4), “Dear Future Husband” (#14), and “Like I’m Gonna Lose You” (#8). Her debut album Title went on to debut at #1 on the Billboard Hot 200 and she even won a Grammy for “Best New Artist” in 2016. And then her sophomore album Thank You dropped in 2016 which was successful but not quite as successful as Title. Producing only two top 20 hits “No” (#3) and “Me Too” (#13) and debuting at #3 on the Hot 100 could have been the start of her demise. Fast forward to 2018 where her supposed third studio album No Excuses was supposed to be released after being pushed back multiple times and finally releasing in 2020. This was the nail in the coffin for Meghan. Her debut single for the album “No Excuses” released in 2018 didn’t even reach the top 40 (#46). Things only got worse for Meghan after two singles intended to be on No Excuses “Let You Be Right” and “Can’t Dance” didn’t even chart. This likely caused Epic Records to keep delaying the record until they could come up with a gameplan to salvage what was left of her career. Then in 2019 her second official single for the album “Wave” dropped. This song was a sonic departure of Meghan’s earlier work as she wished to pursue a “new sound”. Unfortunately this did not pay off. “Wave” failed to chart and to this day only has 10 million (a far cry from “All About That Bass” at 2.5 Billion). When No Excuses finally arrived in 2020, it hardly made an impact (debuting at only #25). On the same day of its release, the music video of its 3rd single “Nice to Meet Ya” ft. Nicki Minaj dropped. Now I personally thought this song was an absolute bop but was shocked to find out it only charted at #89 on the Hot 100. Perhaps with some better marketing and promotion, this song could have become a smash? That brings us to today where her latest studio album Takin’ It Back just dropped. Did anyone even know she had a new album coming out? And on the day of Taylor Swift’s Midnights? With all the Midnights buzz it appears that Meghan’s album was simply an afterthought to her label. The lack of marketing for the album makes this even more apparent. Did she even go on any talk shows or do any interviews for the album? Because I haven’t seen anything. I love Meghan but her label is mad slacking and making it seem like she is on the way out. From what I’ve listened from Takin’ It Back so far, it’s pretty good and marks a return to her signature doo-wap sound. Perhaps the virality of her song “Title” on Tik Tok had something to do with this. To my surprise though, the album seems to be holding its own so far. Currently, it sits at #5 on the U.S. Itunes charts right behind all the variations of Midnights and a handful of the songs are on the Itunes top 200. She dropped the music video for the track “Made You Look” on the album’s release date which is at the time of this writing is #8 on the Youtube Trending for Music charts and is steadily approaching 2 million views (the Jojo Siwa cameo was iconic, just saying). Can Meghan be a dark horse and rise back up to the prestige of pop’s elites or will she continue to falter? Guess we’ll just have to wait and find out.

#meghan trainor #megatron #takin' it back #pop music #pop diva #new album #midnights #taylor swift #swifties #jojo siwa #dance moms #music review #journalism #tabloid #top 40 music #billboard #hot 100 #radio

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mainscandy · 2 years

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Must be love on thebrain

Earlier this year, we begged the question “does pop radio have an issue with Beyoncé?” - a star who is on equal footing with Rihanna, sharing the duties of bringing the old sounds and spirit of R&B to the forefront of the mainstream. The success of “Love on the Brain” on pop radio today is a rare find, because traditional R&B’s presence on the format is an oddity. With Rihanna’s delivery, there’s an earnest sincerity that’s rarely been felt in a ballad since “Hello,” which in itself recalls the theatrical flair of classic ’90s ballads like Celine Dion’s “My Heart Will Go On” or Toni Braxton’s “Un-Break My Heart.” The mystery of the song’s subject - which reasonably could have been about Drake, Anti’s only credited guest and her rumored at-the-time boyfriend - adds to the mystique of the pop star’s storied history with romance, which continues to engross media and fans. In a way, “Love on the Brain” serves as a continuation of the themes of emotional and mental abuse explored on Anti as well as her previous albums, 2012’s Unapologetic and 2009’s Rated R. Immediately upon Anti’s release, some critics noted that the chorus lines “It beats me black and blue but it fucks me so good/And I can’t get enough” evoked the singer’s past of domestic abuse at the hands of ex Chris Brown, adding additional layers of complexity to the lyric and making it a richer, if sometimes borderline-uncomfortable listen. If there is a singer apt enough to tackle the heart-wrenching emotional depth of the lyrics, that would be Rihanna. The song’s edgy R&B backbone suits urban radio listeners, while the retro factor and Rihanna’s star brand completes pop and adult contemporary needs.Īnother key factor in the song’s magnetic success is its vocal performance and context. It offers a timeless sensibility, as a traditionally pop-friendly ballad with contemporary cadences - its soft doo-wop sway and gently supportive backing vocals juxtapose nicely with Rihanna’s stunted, almost trap-like vocal approach and frank lyrical expletives. Analogous to one of Anti’s motifs of mixing the old with the new, “Love on the Brain” is practically a sonic paradox. 2016, with Lady Gaga’s Super Bowl-promoted power ballad “Million Reasons” following in February of 2017.īut if there was a challenger to buck these trends, it would be Rihanna’s “Love on the Brain.” It was the single off Anti that has united all demographics, both among her Rihanna Navy and the general public, across genres and ages. As far as slow-tempo ballads with minimalist production went, the retro stylings of Meghan Trainor and John Legend’s duet “Like I’m Gonna Lose You” made for a rare success story, reaching the Top 10 in Dec. 1 on the Hot 100 and helping Adele practically sweep the Grammys, but it would also be the last solo female performance to reach the Hot 100 summit for nearly two years, until Taylor Swift’s highly anticipated, electro-tinged statement single “Look What You Made Me Do” did this summer. The song was a massive success, debuting at No. Not only that: Adele’s “Hello” seemed to have both opening and immediately shut the door on the big female ballad with its massive surprise release in October 2015. In a way, Rihanna releasing “Love on the Brain” so late in the game - despite its early accolades - seemed like a misread of the music climate, just like releasing “Kiss It Better” the same day as “Needed Me” had proven to be for the former. Meanwhile, hip-hop had emerged as the clear sound of the streaming world, which was beginning to dictate the momentum of radio and the charts to an unprecedented degree. 5 peak on March 25 - more than a year after Anti’s release in January 2016.Īt the time of its release as a single, radio formats were still in the throes of a love affair with Chainsmokers-flavored EDM while phasing out dancehall riddims (noticeably lead by “Work”) in favor of trap-pop bangers. 80 and climbed slowly from there, becoming the Bajan icon’s landmark 30th top 10 hit on March 4, 2017, finally hitting a No. On the Novemissue date of the Hot 100, “Love on the Brain” reentered at No. The cut was first serviced to rhythmic and hip-hop/R&B radio stations, followed by Top 40 pop and adult contemporary. Following all this early promotion, along with the cut being a staple during Rihanna’s Anti World Tour and a highlight of her MTV Video Vanguard Award medleys, “Love on the Brain” finally became an official single on September 27, 2016.

#Must be love on thebrain

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