Not her first man-killing video, and probably not her last. In other words, classic Rihanna: effortlessly gathering the whole world into her vision of sweat-caked, face-to-face, hands-on-your-waist disco elation. Detailing the love-hate games that lock people into various forms of abusive romantic partnerships, Eminem and Rihanna give brazen performances as lovers scorned and burned by their own mix of fear and stubbornness.
She stretches her voice an octave or two to match the soaring production and depicts a deliriously enticing nightlife scene: This girl is with you , and she wants to be your only one. After a series of club hits, she switched gears with this luscious, opulent Sia-penned power ballad. On the track, which would become her 12th Number One, Rih showed off her often underrated vocal abilities that had frequently been overpowered by booming, ornate EDM production. It gave the former Beatle his first Top Five hit in 31 years. He continues to play it at all of his solo shows.
But every woman is vulnerable. They have vulnerability. But in all fairness to the former Pussycat Doll, no one could have brought the same Technicolor joie de vivre to this big room extravaganza as Rihanna, whose near-falsetto voice summons peak-time memories on the dance floor. Share on Facebook Share on Twitter. Newswire Powered by. Close the menu. The beat grinds to a halt with a series of distorted kick drums before moving to its final section. He was producing for local M. Music crew, of which Young is a member.
The biggest hit song the year you were born
Young helped Scott in crafting lyrics. Jonah Weiner is a contributing writer for the magazine. His last feature for the magazine was about the director Adam McKay. Tay Keith: Zach Boisjoly. Mirsad Dervic by Ozan Yildirim. I was under pretty deep. I, at least, assumed that Ally would turn into somebody like Brandi Carlile, a songwriter whose singing regularly reaches the stratosphere but who we can tell is grounded and real because she holds a guitar the way, for some of us, a lawyer holds a degree from Yale — and because Thanks, craft-neutral manager!
But these women are grilling that cheese.
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Why did you do that — do that, do that, do that, do that — to ME? But I watched Ally perform it with my hand to my mouth. This song is confection and sex and feel-copping. Jackson thinks so. As much as I wanted to save this sexy, damaged, doomed man, on this, we disagree. It is a staple of singalongs, the sort of song that gets belted out by groups gathered at marshmallow roasts and swimming pools. Its recent history is clearer. In November , Pinkfong, a South Korean educational brand, released a hopped-up rendition with an accompanying animated video.
It was this clip that inspired the hashtag BabySharkChallenge, instigating a viral craze that has racked up more than two billion YouTube views and spawned unnumbered spinoffs starring everyone from Indonesian farmworkers to Filipino marines to Cardi B to, undoubtedly, your friends, your family, your baby trussed in a shark costume. Jody Rosen is a contributing writer for the magazine and the author of a forthcoming book about bicycles. The video opens with the Carters dressed in gorgeous suits hers a Peter Pilotto in pink and red; his, sea-foam green Dries Van Noten standing — alone — in front of the Mona Lisa at the Louvre.
Whose history belongs in our museums? The video and song meditate on this question. The history of black people has too often been presented as little more than a curiosity. During the 16th century, Africans were exhibited in the Vatican, and in a young Congolese man called Ota Benga was forcibly kept at the Bronx Zoo. Even now, landmark museums like the Louvre tend to exhibit artwork that depicts Africans and their descendants as household servants and domestic workers.
One great complexity regarding the couple is their overt embrace of capitalism. Are they disrupting the status quo or reinforcing it? But just beneath all that spending seethes an abject rage. Love is hard, unflattering work that sometimes requires setting aside ego and reputation.
What would a world created entirely by and for black people look like? They are asserting that they belong. Are we even sure that the genre ever happened? Pop punk married punk power chords with the singable hook of a radio hit.
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The aesthetic was embarrassing, even in its time — circuses, graveyards, men in eyeliner. Want to fantasize about murdering your ex?
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For a brief, fun lapse in those dubious years, such thoughts were best expressed in a high, clear whine, interspersed with bouts of indiscriminate screaming. To me, at 14, it was more than visceral, a soundtrack for a time of hormonal disarray. Like most rappers of this latest generation, these influences evolved in a post-streaming world, where albums existed as free-floating tracks, somewhat detached from imposed genre labels.
Rap music turns on its habit-forming beats, and pop punk thrives on earwormish hooks. Accounting for the keen melodrama of both genres, it makes perfect sense that a hybridized form would triumph in this new streaming ecosystem.
Juice WRLD is not the first or only artist to work in the emo-rap subgenre. The troubles of this music scene have been well covered; in brief, they reflect the real perils of our time — gun violence, a crisis of masculinity, dual drug and mental-health epidemics. If the pop-punk songs of decades past were grandiose enough to be written off as camp, then the latest wave of emo-rap seems somehow right-sized for the terrors of our moment.
Jamie Lauren Keiles is a writer in Queens working on a novel about smoking. A couple of weeks before she would step onstage to accept the Grammy for Album of the Year, Kacey Musgraves was under the covers in the bedroom at the back of her tour bus, pondering the nature of the universe. She had a little unexpected time on her hands. A show in Chicago had been canceled, thanks to the polar freeze that had descended over the Midwest, leaving her stuck in the middle of a vast tundra with a buildup of tour adrenaline and nowhere to put it.
Later, she would stand in a diaphanous scarlet Valentino dress at the Grammys, giving a speech that could, given her tone and reputation, be read as subtly anti-authoritarian. Not so much.
US Top 40 Singles for the Week Ending 5th January, 1963
And very responsibly! Enough to be able to get outside of yourself and see a different perspective or point of view. What makes Musgraves such a resonant figure right now, in fact, is the way her response to a dark, anxious moment in human history is to move willfully closer to lightness, to stillness, toward the possibility of a world that comes in more colors than red or blue.
When she talks about art thriving in this climate, she means it — just not in the same sense as, say, angry punks railing against the Reagan administration. What she means is that right now, the best rebellion involves turning off the hate and making space for hope. I missed her in Chicago, where everyone was trapped inside, the streets vacant apart from the odd extreme-weather junkie taking photographs of ice floes.
I had indeed seen her Instagramming this kind of mysterious, late-night Discovery Channel-type stuff — the sort of thing teenagers once saw at the IMAX theater on a field trip after getting stoned. How did she get into it? And yet even in her early years, when Musgraves looked more the part of your average Nashville aspirant, in cowboy boots and blond highlights, there was always a kind of poise, an innate regality that set her apart.
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