#lizzo vogue cover

[lesbiangummybearmafia]

In this month of Juneteenth wouldn't it far more appropriate for any of the following to grace the cover of American Vogue than Margot Robbie? Lizzo, Rihanna, Grace Jones, Adut Akech, Beyonce, Nicki Minaj, H.E.R, Tina Turner (as tribute to her incredibe life and amazing career), Missy Elliott, ect...

I personally just find extremely sad that bullshit is still happening.

[dimepdf]

So I seen your wired Joe Keery x reader fic and I really loved it alot!! I was wondering if you can make different interview(probably with jimmy Fallon) with the same reader or different if you have time!!^^

𝐑𝐔𝐌𝐎𝐑 𝐇𝐀𝐒 𝐈𝐓. + 𝐉𝐎𝐄 𝐊𝐄𝐄𝐑𝐘

m.list / support me. / taglist.

synopsis. Y/n's viral trending interview where she shuts down rumors about her marriage that has got Twitter in a chokehold.

pairing. joe keery x reader

word count. 1.7k

genre and warnings. milf!actor!singer!reader, VMA’s award, social media fic, mentions of depression, black coded, dilf!joe, parent fic, voice claim: Adele, marriage not beta read | —  read the first part one here if you want, they're connected. sorry this took so long <3

Y/n L/n shares details, pics, and heart throbbing memories from Joe Keery wedding weekend.

Y/n L/n The normally private celebrity gave her Instagram followers a sneak peek inside her fairytale wedding to husband Joe Keery. 

In a private ceremony at L’Olivetta, a villa owned by Dolce & Gabbana, in Portofino, Italy on Sunday, May 22. All of their closest friends and family members watched as the couple swapped vows surrounded by wildflowers and dreamy nature. 

Tying the knot with her husband, Joe Keery, wearing a dress described by Vogue as “a custom off-the-shoulder lace bodice embellished with tiny pale pink and white flowers and seed pearls, layered with tulle for volume, and laced for a fairytale look.”

The ceremony was very private and protected for the famous stars, with less than 30 friends and family members gathered to watch the couple. 

Even details of the event were scarce in the days immediately following it. Until Y/n let her fans and the world know by sharing a few photos from her big day.

The first post shows her and Keery exchanging their vows surrounded by their loving family members and friends. 

The 26-year-old actress posted a video of herself walking down the aisle to Lord Huron's "The Night We Met," which she and Keery, 30, thought was the "most romantic love song."

The video gives us enough details of how stunning her dress truly looked in addition to some of the details of her dazzling edgy makeup.

Keery and L/n’s romantic history is like something out of a romantic romcom, when the two first met in 2017 as co-stars during the production of the show “Stranger Things” second season. 

By the end of the season premier, the two actors were spotted around more and more, until their public announcement was posted that they were in fact a couple just keeping it on the low away from the media.

Unbeknownst to their fans, Y/N took to Instagram in 2019 to make a surprise announcement: she was not only pregnant, but she had already given birth to their beautiful son, Graham. 

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"I'm here with one of the biggest icons of this generation, Y/n / L/n has grown to become a household name since her start in the spotlight of Stranger Things, showing off amazing talents as well as starting her admirable music career, added to being a mother on top of that." The interviewer announced to the camera a very dazzling Y/n standing next to her with a contented smile, adorned in expensive jewelry.

Her makeup look was dark and dramatic with earthy tones that paired well with the main attraction: the dress.

The trailing sheer maxi dress sparkled in hand sewn pearls and different shades of brown beads that covered all of the parts that mattered, with a deep v-line tuck that stopped at the mid of her torso and long flared sleeves that were perfect against her brown skin. 

"Y/n, this is your first music awards appearance. How are you feeling today?"

"Oh, I'm always nervous, but mostly excited to be in the company of so many talented artists. It sort of feels weird not watching from behind a screen." Y/n chuckled, folding her arms to cover her chest; her outfit was already trending on Twitter.

"Yeah, I wanted to ask you, what made you want to break away from just acting in the first place?" The lady leaned in as Y/n nodded her lips, pouting a bit as she thought about the question.

"Honestly, my husband Joe, he makes his own music and I've always just been drawn to everything that he writes. He definitely played as a huge inspiration for pushing me into songwriting; without him, I probably wouldn't even know where to start." Her response was humble, pulling on the heartstrings of all of the fans watching that adored the couple.

Y/n has received nominations for a number of awards for her debut album, after breaking into the mainstream with an ep written with her husband Joe Keery, the musical duo collaborating on award-winning songs including their music videos that had collected 3 billion views all together.

Fans conspired, claiming that the album was a response to the media harassing the actress to the point of hospitalization in 2019, with the hit song, Easy On Me, even reaching global charts.

Y/n struggling with the experience of being a new mother paired with Hollywood's nastiest, the couple unbeknownst separated during the time because of the stress.

In 2022, all secrets were revealed with the release of the song's music video.

Y/n directed a 20-minute short film depicting all the emotions and things she had to go through during and even after her pregnancy. With being thrust into the media spotlight, the actress expressed through her lyrics how it took a mental toll on her in some scenes and even talked about heavier topics like suicide.

Y/n uses her music to show fans how truly unhappy she was in her early days of acting and how she was able to heal with the love and support of her now-husband, Joe Keery, and son.

The media was excited to finally see her perform live for the first time since her parody song in 2017 with the Stranger Things cast, her album being promoted virally online as many of her fans couldn't wait to be brought to tears watching the star get the recognition that she truly deserved.

Racking up nominations for: video of the year, artist of the year, song of the year, best new artist, video for good, album of the year, best cinematography, best direction and best longform video.

"I know that I am personally happy that you’re here. There was a rumor going around that you would even be coming."

"Girl, this LA traffic is a mess. I had to lie in the backseat of a van for two hours so I wouldn't crease my dress and don’t even get me started on the heat. My makeup was melting the entire time. I was thinking about just calling it and telling the driver to turn around, but luckily I had my support."

"Yes, it doesn't get pretty hot here. Your dress is so amazing, by the way, you look so stunning. Was that support that you needed, your husband and cast mates that decided to also make an appearance to help cheer you on?" 

"Oh lord no, it wasn’t Joe. He was in the van with me annoying the hell out of me. It was my son Graham. It's his first award show and—fingers crossed—if I end up winning anything, I would like him to be there to thank him since he’s the entire reason why the album even exists."

"To elaborate, in the very inmate-looking music video for All Night Parking, you had Hollywood hottie Sebastion Stan as your love interest. How was filming some of those scenes as well as how did Joe feel being behind the camera being the one to film those scenes?"

 "He was actually the one that brought up the casting in the first place, but there wasn't really any awkwardness there. The environment in general was just really comforting and I remember we had to do that many times because I kept making Sebastian laugh. It was just all a mess since we were all friends." Y/n answered professionally, staying clear of any negative rumors spreading about her marriage.

"I have just one more question that I know that the fans at home are curious about as well. In your album you talk a lot about your past experiences as well as your break in relationship with Joe, but fans have been theorizing a lot online about your song. Rumor has it, some of the songs may bring up a theme of someone cheating in the relationship or the song was a shade towards actress Maika Monreo, who in the past has had a relationship with Joe. What are your thoughts on those theories? "

After the question was asked, fans watching held their breath, actually surprised that the interviewer would even be disrespectful enough to ask that question to Y/n’s face, the actress sighing, knowing that the headlines would catch up to her at some point.

"Neither actually. The song was actually written about one of my less loyal ex's. I don't write music to spite anyone, nor do I really plan to in the future." The answer came off more stiff, Y/n's tone shifting from friendly to stern at just a snap of the finger.

The interviewer almost crumbling from the weight of the actress's blank stare.

"Of course! Well, I just wanted to feed the fans, you know, we’re all just so excited to see you perform." In the interview, in hopes of saving her career.

Y/n exits away from the frame of the camera with an eye roll, already being used as a meme online.

33,048 Comments                 sorted by top comments….

User: Y/n..makes an album hoping to cope with her trauma wanting to move on with her life and heal. Interviewers..brings up her trauma for clout. 

User: bro the amount of disrespect Y/n has to face baffles me but the way she handles it..QUEEN BEHAVIOUR

User: Poor Y/n. It just goes to show how interviewers don’t care what they ask, they’re making money either way.

User: Y/n was just being so real. She’s so straight forward and said what needed to be said.

User: I felt like apologising to Y/n for not even doing anything

User: i never did anything to offend y/n, but i’m just gonna apologize right now. yaknow, just in case.

User: It’s weirder when you think that all these female celebrities are experiencing this behaviour ON TV. So what goes on behind closed doors? The whole industry is rotten

User: The media seriously owes an apology to women, BIGTIME.

User: the way that Y/n snapped and stood up for Joe yet was still able to keep it classy and professional gave me so much more respect for her.

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[harrytea]

am i the only one that thinks his fanbase is shrinking? so many of my oomfs on twitter have deactivated or are inactive and you can tell by the likes and engagement of the update accounts. hsd doesn't get as much likes and neither does hscandids or the lot updates account.

My personal opinion is that fans as the general public is sick of the people that he surrounds himself with and are realizing he too is very toxic, and thrives on drama. you can't scream "treat people with kindness" when you surround yourself with people like Olivia Wilde, James Corden ,Lizzo , Emily Ratajkowski, the Kardashians, Ellen DeGeneres the list goes on and you can't scream I want to be private while parading down the busiest streets of London.

Fans called it days ago exactly what was going to happen because it's the same bullshit. I know nothing about Taylor Russell but you can't deny she's has only gained thousands of followers now the British vogue cover because of her connection to Harry. This is a career boost for her and if you deny it and start screaming racism then your blind this has nothing to do with race it's all about who you are connected too in the business, brands know anything attached to Harry Styles will sell. No one will convince me that she would have been given the same opportunities for the vogue cover if it had not been for the connection to Mr. Rockstar and all the other endorsements that are bound to follow.

When Harry dates someone that has nothing to gain from him and he's not parading them around on busy streets or tour then I will believe that he has found a person that is genuine and it's a healthy relationship.

.

[koningen]

im doing a cover of about damn time by lizzo w my band for a gig this saturday and i thot itd be funny to learn the tiktok dance but now i feel insane …. 3am staring at + copying white girls who dont know what voguing is w/ the same 15 seconds of that song on an ongoing loop . my personal hell

[fluentinfashionfmd]

Hi Fashion Lovers, Happy Monday! 

Today I will be sharing with you my most loved fashion icon, Mr Harry Styles. The man has Style in his name, how could he not have impeccable style? Harry's style evolution has been through it, but ill only be sharing his more recent and post worthy looks.

Harry is most famously known for being a part of the British boyband One Direction. They had an amazing career at so young, but sadly parted ways in 2015. Since then he has gone on to have an amazing solo career, and has only been on the up since then.

At the start of his solo career, he had a very distinct style. This was around 2017-18 when he released his first album as a solo artist, and was starting to stray away from his boyband persona. He experimented with some color and different patterns, but it wasn't anything out of the ordinary for a male pop star. It was him trying to be different, but still playing it safe.

Since then, his style evolution has drastically changed. Harry is known to be good friends with Alessandro Michele, which is most well known for being the most recent creative director of Gucci. He was also the designer of most of Harrys "big" outfits.

One of Harry's most "controversial" outfits was the dress he was wearing in his December 2020 Vogue magazine cover. This was significant because he was the first male to be on the cover solo, and wearing a dress. The dress he was wearing was beautiful, it flowed perfectly, and of course was designed by Alessandro. Although, it sparked way too much controversy. Candace Owens, is a conservative author that posted on social media responding to Harrys cover that we should "bring back manly men". This sparked a craze that was so unnecessary. Nothing about him wearing a dress makes him any less manly, its simply just fabric.

As Alessandro was the designer behind this iconic look, he was also behind my most favorite looks worn by Harry. These would be his Coachella 2022 looks, as well as his "Harryween" 2021 costume.

His first weekend headlining, he was wearing a multicolor sequin jumpsuit paired with black leather boots. This look was so eye catching and colorful, it looked so good when it hit the lights at the right angle and gave a mirrorball effect. Not only was his look fab, but he brought out Shania Twain to twin with him. They sang a couple iconic duets such as her hits "Man I feel like A Woman" and "You're still the one". Their outfits were giving disco glam, and they matched perfectly. Although I loved the rainbow, I'd say his weekend 2 outfit was my favorite. The metallic pink was perfect, and the details of his initials on his pockets and cherry and strawberry appliqués were stunning!! So many fans recreated this look for his concerts and it was amazing, definitely one of his most iconic looks. The second weekend around, he brought out one of his besties Lizzo. They matched perfectly with the twinning pink looks.

For another fave of mine, I have to talk about his Dorothy costume. Harry has had several concerts on Halloween, that he famously calls Harryween. Everyone dresses up in amazing costumes, and he sings a special song pertaining to who he dresses as. In 2021, him and his band dressed as the beloved characters from the classic movie The Wizard Of Oz.

This costume was incredible!!!! Honestly I'm biased because the Wizard Of Oz has to be in my top favorite movies, but this costume was everything to me. The details of the boots with the blue socks, the basket of toto, hearts on the dress, and the blush on the cheeks. Everything that he needed to have, he did. And on top of that, he had to sing somewhere over the rainbow during this concert. It was all phenomenal. I had the incredible luck to attend Harryween this past year when he hosted it in LA. He dressed as Danny Zuko from Grease, and I dressed as Ariel from The Little Mermaid. Now it wasn't anything designed by Alessandro, but I do think it was pretty cute.

Now that's all from me fashion lovers. I enjoyed this time together and don't forget to Treat People With Kindness, as Harry always says!!

XOXO,

Bella

[webnewsify1]

Billie Eilish responds to criticism of her new look: 'Let women exist'

Billie Eilish emphasized that she is not accountable for the opinions of critics regarding her changing fashion sense. On Instagram, she spoke out about the criticism she has faced for adopting a more feminine appearance in recent times. "I was criticized for my youthful appearance and unconventional dressing style during the first five years of my profession and was subjected to constant ridicule by individuals like you who left no opportunity to disparage me. I was even advised to dress and behave like a female if I wanted to increase my attractiveness quotient. However, when I started feeling confident enough to wear clothes that were even slightly feminine or body-hugging, I was accused of being a sellout." Eilish added, "Let women exist”! Is it surprising that women have different sides to their personalities? Shocking, isn't it? It's possible for a woman to have an interest in multiple things." Eilish rose to fame in her teenage years after dropping the EP "Don’t Smile at Me" in 2017 and releasing her debut album "When We All Fall Asleep, Where Do We Go?" in 2019, making her one of the leading stars in pop music. Her androgynous fashion sense, characterized by baggy, boxy garments that hid her physique, also gained notoriety. Eilish stated in a 2019 Calvin Klein advertisement, "I don't want the world to know everything about me. That's why I wear loose, oversized clothing. Nobody can make any assumptions because they haven't seen what's underneath." However, more recently, the 21-year-old singer has explored more feminine looks. Eilish donned a body-hugging pink corset on the cover of British Vogue in June 2021 and wore a Gothic black semi-transparent halter dress to the Met Gala earlier this month. "It was offensive to me when individuals would say, 'She ought to be commended for being at ease in her larger body,'", Eilish shared with British Vogue, "When the internet and the public make a big deal about someone doing something outside the norm, it only amplifies the pressure and scrutiny." Specialists indicate that Eilish, as well as Taylor Swift, Lizzo, and Khloé Kardashian, are under an implicit obligation to update their image multiple times in order to stay relevant, despite facing backlash for doing so.   Read the full article

[coloredgirlshuffle]

Check out this listing I just added to my Poshmark closet: October 2020 Vogue- Lizzo Cover.

[deadcactuswalking]

REVIEWING THE CHARTS: 18/06/2022 (D-Block Europe, BTS’ ‘Proof’, Joji)

So, naturally, the biggest story on this week’s chart is not any of the new arrivals. It’s that ACR has been reset – likely influenced by the label – on Kate Bush’s track “Running Up That Hill (A Deal with God)”, allowing it to spend its first week at #1 and become Bush’s second chart-topper after “Wuthering Heights” in 1978. I mean, it is one of the greatest songs of all time, and the chart rules are arbitrary as all hell in the first place so seeing them being flubbed for the sake of an amazing song having a streaming resurgence and coming back to rule the chart... it’s not surprising or really anything I’m ungrateful for. This would probably be a bigger deal in the US, where older songs don’t as easily top the charts bar Mariah Carey, but given in the past few years in the UK, we’ve seen “Last Christmas” and “Three Lions” at the top, as well as “All I Want for Christmas is You” of course, it’s not exactly a big deal, at least not to me. Hell, “Last Christmas” is even older than Kate Bush’s track, even if Bush does now break their record for the longest a song took to top the chart. These little anomalies are fun, but arguably ever-present in the ongoing weirdness of the UK Singles Chart, which I try my best to document. With that said, welcome back to REVIEWING THE CHARTS!

Rundown

This might be a cooler week, in large part because, well, other than Kate Bush, there’s not much to discuss here. I didn’t even find any albums outside of the chart last week that I cared enough about to listen to. To be fair, next week will be a whole lot more stressful  considering that there were already many albums I wanted to discuss before you-know-who came around... so this week, I can take it slow and prepare for the inevitable chaos.

For now, we should start with – as always – our notable dropouts, songs exiting the UK Top 75 – which is what I cover – after five weeks in the region or a peak in the top 40. There’s nothing that detrimental this week, but we do say farewell to “Lemon Tree” by Post Malone, “All for You” by Cian Ducrot, “What Would You Do?” by Joel Corry, David Guetta and Bryson Tiller, “Still Sleepless” by D.O.D. and Carla Monroe, and of course, “Shotgun” by George Ezra and “God Save the Queen” by the Sex Pistols off of their returns last week. That’s not to say Ezra’s album wasn’t successful, of course – he got the #1 – it’s just that his older hit couldn’t last for a second run.

“Levitating” by Dua Lipa is back once again at #75 because of course it is, but otherwise, we do have some notable gains, those being songs that jumped up at least five positions from their chart placement last week. This week, we see gains for “Vegas” by Doja Cat at #52, “Stay the Night” by Sigala and Talia Mar at #40, “I Ain’t Worried” by OneRepublic of all songs at #28, “Anyone for You (Tiger Lily)” by George Ezra at #22 thanks to the album, “Last Last” by Burna Boy at #20, “Je M’appelle” by Benzz at #17 thanks to the remix and that’s pretty much it outside of the top 20... and I’ll be honest, I’m not fussed about any of these gains: some just seem like kind of bizarre ways to fill in the gaps.

In terms of our top five, well, bottom top, we have “About Damn Time” by Lizzo at #5, “Afraid to Feel” by LF SYSTEM surging up to #4 – to have a song this subtly weird this high is pretty cool, even if there’s one that’s even more so at the top. There’s also “Go” by Cat Burns at #3, “As it Was” by Harry Styles at #2 and of course, “Running Up That Hill” at the top. Now, since we don’t have an Off the Charts section this week – I know, scandalous – I suppose it’s time to get straight into our new arrivals.

NEW ARRIVALS

#73 – “Cash In Cash Out” – Pharrell Williams featuring 21 Savage and Tyler, the Creator

Produced by Pharrell Williams

So we might just get a new Pharrell Williams solo album after all, and since his Y2K-era Neptunes pop rap is actually in vogue now in terms of the nostalgia cycle, he won’t need to do the plastic “soul” music of his last effort under his own name. Of course, I’m glad about this considering that I never want to hear “Happy” again for the rest of my life, but I do miss the more experimental side of N.E.R.D. Regardless, this new single is a straight-up hardcore rap joint with a blocky, stiff beat made up off of hard-hitting bass and a scratchy vocal loop that is very typical of Pharrell. I actually really like it, and this kind of incoherence can fit both 21, even if his hook is monotonous, and especially Tyler, the Creator. To no surprise, both of them do pretty well here, with 21 keeping a straight-forward flow yet still coming up with some notable flow switches as well as some bizarre lines, like how his bodyguard looks like a horse, and he can turn a third-world country to a million-dollar street, and how he’s Uncle Sam because he’s also taxing. When the flexing is self-aware and clever enough to both acknowledge the violence of his music and compare both his Glock and penis to Kim Jong-un (and it’s not his first time), it’s kind of hard to dismiss it. Of course, it’s easier to forget he’s on the track when Tyler runs away with it, with his level to detail in his bars that address mostly flexing of course but in a variety of ways that both reference his older work and acknowledge his own place in the track (which as he says is to “bring life” to it – if something is Tyler’s best aspect, it’s honesty). A beat this blocky and kind of gross having this smooth and adaptable flow on it honestly feels kind of bizarre on first listen, but the way that Tyler plays with the structure of the verse with his layered ad-libs, hardcore aggression in the final few lines, and the playful sing-songy flows elsewhere is really just effortless. It may not be the most interesting song from any of these artists, but it goes hard, and that’s all it really intended to, especially since Pharrell is actually nowhere to be seen outside of the production. If his next project is really just a DJ Khaled-esque compilation, I’m not sure I’d be complaining if everything is at this level.

#71 – “Sunroof” – Nicky Youre and dazy

Produced by dazy

TikTok strikes again, giving a hit to yet another indie pop artist, this week’s being Nicky Youre, a singer from California who broke out with this song produced by dazy and... I can’t stand this, I’m sorry. The “la-di-da” hook is infectious sure but seldom tolerable, and the plucky acoustic guitars are one step removed from American Authors’ “Best Day of My Life”, except even jerkier over the programmed bedroom pop drums that rid the song of any groove, especially with the shifty reserved percussion in the verses that is such a questionable decision, for such a breezy song no less. Youre is probably the least of my issues, as whilst his delivery isn’t exactly complimentary, he can easily fade in the background when he isn’t not enunciating or whining. Hey, at least there’s a vague excuse for a guitar solo, but it replaces where an actual verse could be because for such a conventional song, it eschews a typical pop structure, in favour of just getting in and out a teenager’s ears as quickly as possible, copping out by fading out instead of resolving tightly or effectively. The fact that this is coming from no-names doesn’t surprise me, but it does just feel like label-manufactured commercial music: you’d hear this, conveniently, in a YouTube advertisement promoting a car which has a you-guessed-it so the song just fits all too snug in that kind of mould. I’m not a fan of this at all, though upon relisten to “Best Day of My Life”, I may want to retract my comparison as “Sunroof” sounds like Pink Floyd with that extra context.

#67 – “So Good” – Halsey

Produced by Tobias Karlsson and Max Martin

Halsey released a really great album last year that I feel not as many people paid attention as they should have, because although it was a bit less accessible thanks to the Nine Inch Nails connection, it was a pretty compelling take on the idea of womanhood that had its fair share of really fascinating songs as well as songs that could have easily been hits – perhaps if Halsey had worn a bra on the cover art, people would be more willing to stream. Sigh, I guess she’s back to making “normal” pop now, but I’m not really complaining as I like this a fair bit too. I don’t really wish to acknowledge the TikTok media garbage tsunami that surrounds the release of it, especially since I hope the label and Halsey know how that was worth a resounding #67 debut (telling) – so I guess I’ll move on and say that whilst Max Martin is a producer, he didn’t write the track and it kind of shows because Halsey has always created characters in their music that speaks for them, even if they are based on people they know, as is done with the bridge here as they mention their friend Maria, and continue to refer to their partner as “the one that got away” even if, ultimately, he came back to them and it’s kind of a unique angle in this kind of cutesy love song. Everything worked out fine in the end, but there is acknowledgement of the frustration that comes with starting a high-profile relationship, and really, the chorus never fully changes: that bitterness about the previous relationship he was in is still there. Halsey themselves may be the weak link here in terms of delivery as they’ve never been able to fully get out of the generic smoky alt-pop delivery, but the glassy instrumental does some heavy-lifting, especially with those flares of synth or guitar that acts as the sparks birthing the relationship. The blend of scratchy acoustic guitars with the uniquely busy drum programming, not too dissimilar from footwork or juke tracks in all honesty, gives the song a sense of driven urgency that by the end feels fully warranted. It’s not that interesting, all things considered, but it’s done really damn well for what it is. That may just be a theme in the good songs this week, but time will tell. Either way, this is  a good song and I hope to hear more like this in that next album... perhaps a bit weirder for the deep cuts though because I know they can make that work.

#65 – “Rainfall (Praise You)” – Tom Santa

Produced by Alex Tepper

I always get a sinking feeling when I song I have to review doesn’t have a Genius page... or has a prior hit song in its title and is made by a nobody. “Praise You” by Fatboy Slim is by some levels a plunderphonics track, effortlessly layering many a sample, some from ludicrous sources, to create a track that somehow out of disjointed parts from other forms of human expression, feel a whole lot more human than a lot of the dance music out at the time. It was a breakout hit for Norman Cook and to this day is still the DJ’s only #1. It may not be his best song – “Weapon of Choice” kind of clears – but... oh, okay, this has nothing to do with Fatboy Slim at all. Let’s try this again: “Shackles (Praise You)” is the only worldwide hit by gospel duo Mary Mary, using a gritty guitar, Auto-Tune and contemporary R&B percussion to add a groovy edge to their praise and worship that sounds dated as hell but honestly is kind of better off for it. It peaked at #5 here, and now an Australian DJ under the name of Tom Santa has remixed the track for his only available song on Spotify, speeding the hook up and adding a blubbery bass and some 90s piano house production that should not be unfamiliar to any chart listeners, as well as some live chatter that kind of makes it seem like part of an actual DJ set, even if the looped catchphrases don’t really make him sound exactly like he’s building up audience hype and just sounds like he recorded this to a pre-recorded track. It’s similar to “Afraid to Feel” in terms of how liberally it uses that one sampled hook, but the bridge where he keeps in the dated Auto-Tune and adds some strings that really elevate the track to new heights that I did not think gospel could be taken is actually really well-sequenced. Sure, it leads to a slap-house drop but stakes weren’t risen high enough or with busy enough programming for that to be disappointing so it just ends up working as a relaxed throwback. I was kind of hoping that he’d mash up the song with the Fatboy Slim classic for extra music nerd points, especially considering that before I heard the track I assumed he’d remix the more, you know, feasibly remixable track but this is still pretty good. I wonder where “Tom Santa” will go from here – a Wikipedia page would be a good start.

#62 – “Run BTS” – BTS

Produced by Dem Jointz and GHSTLOOP

These boys, however, need no introduction. BTS released a compilation album before announcing a hiatus. It’s called Proof and naturally already contains their hit “RUN”, so I guess this song, produced by Dem Jointz and with writing credits from Daniel Caesar of all people, needed a new name. Fitting for the production, BTS tackle what is basically a brag-rap song – far from new territory for them – and actually add some decent detail, especially that recurring theme of the crappy old studio that would have leaks in the rain and comparing that to where they are now. All of that is in Korean so without translation, most of the lyrics consist of kind of aimless motifs which I guess is understandable but does make the song sound kind of generic. Now I understand I’m treading on thin ice so for my personal safety, I’ll say that most of my problems with this song come from whatever the hell Dem Jointz is doing. Most of the Bangtan Boys flow as effectively as they can over this gross guitar riff and really chipped, weak percussion that doesn’t fit the gravitas of the sentiment, the charmingly over-the-top delivery or especially the squealing guitars and attempt at having a bassier groove. As always, SUGA’s flow is impressive, and I kind of love RM’s silly little ringtone rap back-and-forth he does before the second chorus, which I don’t think is particularly impressive but I think that really is a result of this beat not clicking with me. The awkward beat switch with j-hope’s Auto-Tuned croon and the trap inflections just sounds really ugly, out of place and lazy, meaning that when the actual intensity, however canned and tinny, comes on that final chorus, nothing feels all that warranted. This isn’t awful, but it could have easily been better.

#31 – “Glimpse of Us” – Joji      

Produced by Connor McDonough

I should be over this “Filthy Frank is an alt-pop hit maker” thing now but I really don’t think I have the right to. I never watched the guy but I was a bit too acutely aware of the memes to know that the lack of formal remorse, apology or even acknowledgement before moving onto a new era does bug me just a little. It doesn’t really help that I haven’t found much to consistently like from the moodier stuff outside of the rare single that really hits like “SLOW DANCING IN THE DARK” or “Daylight” with Diplo, but considering that this is his highest-charting single to date, I had some expectations. They were not that it would be an adult contemporary song, but my expectations were within the realm of “pathetic break-up song”. With that said, Joji starts the song by expressing these loving gratitudes towards his current partner... before saying that it doesn’t matter because when he looks into her eyes, all he sees is this past relationship that could have worked. This desperate tone is well reflected both in the lyrics and Joji’s falsetto that can never sound perfect regardless of how many times it’s being multi-tracked, so it expresses “pathetic” pretty well. That doesn’t necessarily mean I like it, given the minimal piano backing doesn’t build up any expectations that it can tug down, which would be the crux of a song like this, and it is bit of a slog, but it’s new for him – even if I’d argue it’s fully an attempt to chase trends, albeit doing them better – so I’ll welcome it with open arms for now, at least before I hear it in album context.

#27 – “Yet to Come” – BTS

Produced by Pdogg

This new BTS album is more than a compilation album: it’s an anthology album that debuted at #8 on the UK Albums Chart, acting as a hesitant farewell and look back on an honestly impressive decade plus of their career and success in Korea and elsewhere. It’s not really a surprise then that this single, subtitled “The Most Beautiful Moment in Life”, comes with a video that references their older tracks as well as lyrics that do feel personal and detailed, even if some of them come off as generic motivation (likely lost with translation). V notes that fame that once felt new and exciting feels like a responsibility or obligation when he says that “unfamiliar names just feel heavy”, SUGA feels that even being called the best or most successful doesn’t stop what he started music for, which is the love of it, that all of the group express without exactly sugar-coating things like their youth and the meaninglessness of industry accolades – “crowns and flowers, countless trophies: we ain’t about it”. Of course, not all of that tone is found in the production, but given that it’s their signature producer Pdogg at the helm instead of people who don’t know what they’re doing, I hoped for some more restraint here... and whilst there’s not exactly “restraint”, this might just be my favourite BTS song so far. The beginning blend of pianos and overlapping vocal samples as well as that driving kick drum remind me a lot of a kawaii future bass song building up tension, so the more down to Earth yet still hard-hitting hip-hop drum pattern that comes in feels like a bit of a relief, and might even parallel the tone that they’re going for. RM interpolating Kanye’s most inspirational hit in the chorus feels nowhere near as forced as it should, and both he and j-hope have some smooth flows and deliveries in that shared third verse. Sure, it’s boy band fluff, but it’s done really well, in the way that I could say that Backstreet Boys or *NSYNC songs had a genuine sense of urgency or reminiscence to them back in the 2000s. This is pretty damn good, and honestly, if this is the last we’re getting from them together, at least it’s ending on a high note and everyone seeming to be – at least on the surface – at some degree of harmony. We, however, do not necessarily end on a high note...

#18 – “Elegant & Gang” – D-Block Europe

Produced by Ghost Killer Track

You know who has never sounded in harmony? D-Block Europe, the UK rap duo that kind of phone it in but put just enough effort in to be funny. They’re teaming up with French producer Ghost Killer Track for their biggest lead single in a while, and it’s honestly not that bad. Young Adz tries his best at being a British Drake, with a fittingly cloudy beat, though he seems to treat his girl better than Drake does his, especially since he makes this fleeting reference to domestic violence that comes out of nowhere, much like that kick drum that’s too loud in the mix and stiff, unfinished trap percussion, which sadly does overshadow some of Adz’s decent melodic flows, especially in the pretty catchy chorus that plays on the “Bad and Boujee” dichotomy. He flows better than Dirtbike LB at least, and kind of shows him up on the second track, but it’s not like either of them are saying anything all that interesting. Once again, I found myself oddly convinced that Dirtbike LB needs some form of therapy, as whilst he says he’s watching Sky Sports, he also mentions a night that he was feeling vulnerable and willing to use substances in a borderline suicidal way just to please this girl and lead her into having sex. This goes beyond the typical rap nihilism right? Get help, man.

Conclusion

D-Block Europe get the Dishonourable Mention here but almost by default and in lieu of being actually bad, just uninteresting with “Elegant & Gang”, whilst Worst of the Week goes pretty easily to “Sunroof” by Nicky Youre and dazy because nothing else was actually all that bad here. Hell, I’d say it was a pretty good week with the best being difficult to decide. I guess I’ll give a tied Honourable Mention to Halsey for “So Good” and Pharrell Williams’ “Cash in Cash Out” featuring 21 Savage and Tyler, the Creator, with Best of the Week going to Tom Santa’s good sample flip on “Rainfall (Praise You)”. Trust me, BTS were close, there was just a lot of competition. For next week, I won’t have to stay as safe – I haven’t exactly sung the praises of this certain Canadian and in the past, and no – it’s not Justin Bieber, I hope he recovers from his condition swiftly. You know who’s coming next week and if you’ve been on Twitter, you might know that there’s not much worth discussing in that regard. For now, however, thank you for reading and I’ll see you next week!

[vogue-edits]

VOGUE // LIZZO // MAY 2021

[sinnamonscouture]

Lizzo Covers VOGUE US October 2020, Photographed by Hype Williams

[gahdamnpunk]

She looks divine!! LOVE 👏🏾 TO 👏🏾 SEE 👏🏾 IT

[slfmag]

Lizzo in Valentino by Hype Williams for Vogue US October 2020.

[carriejanestyle]

Lizzo

Hype Williams

Vogue

[nouveaufaux]

THE SOUL AND THE JUICE! - LIZZO!

[curvylink]

@lizzobeeating est en couverture de Vogue et c’est historique. En effet, c’est la première femme ronde noire à être en couverture du fameux magazine de mode ! Bravo à Lizzo pour sa réussite, c’est chouette de voir qu’on peut enfin être reconnu pour son talent et montrer en exemple peu importe le sexe, la couleur de peau ou la taille. #lizzo #couverture #cover #talent #beautiful #vogue #curvy #ronde #bravo https://www.instagram.com/p/CFjzB3OIeyV/?igshid=1x0iynxmaen7q

[buscandoelparaiso]

I find it funny that nowadays your one of the few people who still think they do a shit job with Harry or don’t know how to handle him right. All I read are the same essays how perfect they are for him

They never have been, they have big connections because Irving Azoff is a legend, so they get big gigs because of that and because Harry has a lot of star power and everyone wants him to do stuff. They are lucky he is in high demand and people want him because he is harry styles(tm) but at the same time they are incapable of handling all these opportunity and use his potential in the right way. If he was an indie artist, he’d be ruined with a team like that to be honest. I think the interests here lie on how much Harry can make them earn with his famous persona, he is now the big name they can flaunt around the industry and that’s all they care about. He works with a too small group of people who are always the same and say the same things over and over again, no attention is placed on his persona ever, it’s always either gossip and stunts or associations with people who have the same team or no association at all. He doesn’t do anything mainstream because they want to show him as ‘too good for this and that’, he doesn’t wear any clothes that are not gucci because of this one deal (which considering how handsome he is and how much people want to work with him, its kinda stupid he’s that tied to one brand at this point of his career but alas), he doesn’t collaborate with other artists that are not lizzo or stevie nicks ( i mean, great names but....we got it the first 20 times, thanks) his social media presence does not exist and when it does is super fake (except for a few glimpse of real harry here and there, see the 1D anniversary post). Probably the act like this so they have more control on him, or because they can’t do better than this or they don’t care as long as he earns money and power for them and their firm, i am not sure. They turned him into this walking advertisement for anyone but himself and everything he does is just publicity for this and that but never himself  and his art (see the grammys, where everyone and their dogs posted about it BUT him basically) and i get this is show business and everyone is an advertisement but it comes to a point when there HAS to be more than that on the table. I did read an interesting post a few years ago, saying his team does this with all the artists and especially harry (which is one of the 3 that actively works in their roster) because the deeper the connection is, the harder it is for him to leave cause he’d find himself ‘alone’ if everyone he had ever worked with is connected to his ‘old’ team. Someone as dynamic and eclectic as Harry is kind of wasted with these limited options his team offers, in my opinion and having a Vogue cover and a Grammy is good but it is not enough in 2021 especially if these amazing gigs are followed by shitty stunts and poor actions that reflects bad on him and his persona all the time. He describes himself as someone that never stays put, that always likes to venture into new fields and try new things and experiment with new stuff so I find it hard to believe he only wants to work with James Corden, Ben Winston and Gucci over and over again, something doesn’t add up here. Another bad thing that makes me fuming is that they want to make him an ‘American’ star so bad they forget harry is not even American. Bottom line is that he has a lot of opportunities and stuff thanks to his multiple talents and it’s infuriating to see it wasted because his team doesn’t know how to handle them and always turns them into sloppy jobs and bad stunts.