Showing posts with label lmfao. Show all posts
Showing posts with label lmfao. Show all posts

Saturday, October 12, 2019

the top ten worst hit songs of 2011

So something every music critic loves to do is craft a 'narrative' surrounding the sound of a specific year, especially with the benefit of hindsight allowing one to track trends or make predictions of what was to come, write a little history along the way.

2011 is not one of those years where that comes easily. On the surface you could make the argument this is where the club boom hit over-saturation and began collapsing in upon itself, with the success stories this year telling what was to come. But while this year would foretell the success of some individual acts and trends - you can argue the popular seeds of bro-country were planted this year, as was Adele's decade-long run and a fondness for retro tones that would eventually be co-opted by artists looking for identity outside their own - hi, Bruno Mars, who got his major push this year - it also feels weirdly ossified in time. For one, 2011 was a year of massive pop diva competition, where most would see their careers fly in wildly different directions by the decade's end or implode entirely. You could argue that 2011 was also the year of Young Money as Lil Wayne, Drake, and Nicki Minaj began notching consistent crossover success... and many could argue that was a mixed blessing at best. And that's not even counting the string of acts that would achieve chart success in 2011 and little else - and what's bizarre is that they weren't part of any one consistent trend or level of quality, which means even in hindsight you can't really draw clear predictions on where anyone was going to go. And here's the strangest thing: for the most part that diversity played to the year's strengths, and wound up just having less bad hits than many years ahead - years like 2013 and 2017 might have hit greater heights, but they also had far deeper lows. Like with 2012, most of the bad stuff in 2011 was more annoying and badly made than offensive, but unlike that year it was a struggle for me to even pin down the worst of what we got... but I did pull something together anyway. You all know the rules, the songs had to debut on this year-end Hot 100 chart, so let's untangle the worst of this messy year, starting with...

Saturday, July 14, 2012

album review: 'wild ones' by flo rida

Short version: it's a short review, because there's really nothing to say about it. While there are some signs of promise, there aren't enough to make the album worth a damn.

We all have guilty pleasures. Yes, even you. Don't even pretend that you don't. Even as you shake your head with disdain, you know that there is something that you just like despite - or indeed because of - its flaws and failings. I feel the admission of said pleasures is important to one's development as a critic of anything, not only because it humanizes the critic, but it also forces us to delve deeper into the question of why we like something. 

And by now, if you've been reading these reviews, you probably have an idea of my guilty pleasures already, but just to clarify them, I enjoy bubblegum pop (this is your S Club 7 and Aqua), boy bands and the occasional girl band, cheesy hair metal and folk/symphonic metal, and a musical every once and a while. 

But besides these, there's one guilty pleasure that I have a fair amount of guilt in admitting - mainly because I still have a hard time explaining why I like the genre. Is it because of the high energy, the potent dance beats (albeit often limited lyrics), or because it's music solely for the purpose of raucous partying amongst a demographic I have never and will never fit into.

Yeah, I'm talking about Southern crunk music.