#the visuals in this song r so strong but took me a minute to figure out. and then this happened. hi <3

[thekidsarentalright]

we'll cry later, or cry now

[thecourtreportersportedjorts]

The Top Ten Best Hit Songs of 2018

In December of each year, Billboard publishes its list of the 100 biggest hit songs of the last 12 months. In response, I take it upon myself to decide which of these songs were the real hits, and which were the biggest misses. Last time, I tackled the worst, so we'll be looking at the highlights this time. Let's get started:

10. "Stir Fry" by Migos

Like Drake’s Scorpion, I decided to sit out Culture II. And just like that album, I was actually excited to hear what the Migos had to offer, before discovering that the album would consist of 24 tracks. Reports that the Atlanta trap purveyors only spent 20 to 45 minutes in the studio for each song only made me less interested in what would surely be a slog of an album. I figured that hearing the numbingly repetitive “Walk It Talk It” would be a perfect microcosm of the album. But just like Drake (who I will be discussing later on this list), there were singles that gave me hope, especially “Stir Fry.”

Sure, “MotorSport” was a great lead single that saw Offset and Takeoff holding their own against some excellent guest verses from Nicki and Cardi, but “Stir Fry” found the group advancing on all fronts. The flows were faster and more dynamic, and Quavo’s multiple hooks were among his stickiest to date. Of course, the song isn’t really about anything besides cooking and dealing hard drugs, but the wordplay and rhyme schemes are more advanced than usual, especially coming from Offset.

But the most interesting thing about “Stir Fry” comes from its production. The Pharrell-crafted beat is apparently a leftover from 2008, but the track nevertheless sounds refreshing, even futuristic, amidst the unending wave of boilerplate trap bangers. The whistles, buzzing synths, and boom-bap-adjacent drums are totally uncharacteristic of Migos’ usual style, and just like “Slide” last year, it’s evidence that these guys put in some of their best work when accompanied by more uptempo instrumentation. It may not be “that trap sound,” but if more artists take Pharrell’s cues, it very well could be.

9. "Call Out My Name" by The Weeknd

As much as I’ve been singing The Weeknd’s praises on these lists since his mainstream breakthrough in 2015, it may be surprising that I’ve never talked about his first solo hit “Earned It.” There’s a good reason for that: I just don’t feel strongly about the song one way or another. Sure, the song was good enough that it could make you forget it was on the Fifty Shades of Grey soundtrack, but it didn’t quite match up against the harrowing atmosphere of “The Hills” or especially the infectious groove of “Can’t Feel My Face.” And now, after the release of “Call Out My Name” in 2018, the Fifty Shades hit even got an update!

To be fair, “Call Out My Name” only bears similarity to “Earned It” in its musicality. It’s a recasting of the earlier song as a more melancholic ballad that gives credence to early claims that My Dear Melancholy, would return to Abel Tesfaye’s original sound. The song is built around a well-utilized sample of “Killing Time” by Nicolas Jaar (who, by the way, dropped one of the year’s best albums with Against All Logic's compilation 2012-2017) that builds to a fever pitch with its pounding drums, mournful synths, and vocal distortion. Fitting of a track with Jaar’s imprint, it’s some of the most inventive production work in 2018’s pop landscape, and yet another entry into the canon of great singles by The Weeknd.

Oddly enough, “Call Out My Name” also recalls “I Feel It Coming” in that it subverts the persona that has become integral to The Weeknd’s music. Tesfaye, who normally plays the heartbreaker on cuts like “The Hills” or “Angel,” finds himself in the opposite situation, which was undoubtedly informed by his well-publicized breakup with Selena Gomez. The result is one of the singer’s most captivating vocal performances in recent memory. While the similarities to “Earned It” may keep this song from ranking higher, I can’t deny that “Call Out My Name” is still a worthwhile song that encapsulates everything a good Weeknd song is about.

8. "King's Dead" by Jay Rock, Kendrick Lamar, Future & James Blake

It may have been a year since its release, but it's worth reiterating that Black Panther was every bit as good as anticipated. The film featured stunning visuals, dizzying action sequences, profound messaging, and an especially strong performance by Michael B. Jordan as Killmonger. But since I’m not a film critic, I’d rather discuss the film’s soundtrack, which was expertly curated by none other than Kendrick Lamar. Fresh off the monumental success of 2017’s DAMN., the soundtrack could easily be dismissed as a victory lap where the Compton rapper highlights some budding talents, but the album is stacked with great pop songs and thrilling bangers.

“King’s Dead” immediately cements itself in the latter category with its infectious hook, where Lamar repeats key phrases like “miss me with that bullshit” and “this ain’t what you want.” Top Dawg labelmate Jay Rock, who makes his Billboard Hot 100 debut here, takes the first verse with a delivery that’s repetitive, but his flow is also hypnotic in its speed. Future takes the mic next, using his trademark Autotuned crooning before suddenly bursting into a creaky falsetto where he references iconic the rap tracks “La Di Da Di” and “Slob on My Knob.” It’s utterly bizarre, and perhaps very Not Good™, but it nevertheless captures the attention and gets a smile out of me every time.

Then, two minutes in, something amazing happens. James Fucking Blake sings a brief interlude, and the no-nonsense trap beat transforms into a freewheeling trunk-knocker with a bass that rivals Lamar’s own “DNA.” in its size. Lamar finishes the song off with a mind-altering verse that somehow works with the beat despite their decidedly off-kilter rhythms. He also refers to himself as “King Killmonger” after seemingly aligning himself with the Black Panther antagonist’s ambitions throughout his verse. It’s an absolute journey of a track that still hits hard, even well after the film’s release.

7. "Be Careful" by Cardi B

A lot of people expected Cardi B to fall off after the runaway success of “Bodak Yellow.” After the follow-up single “Bartier Cardi” treaded the same ground (with some help from 21 Savage), it seemed entirely possible. Surprisingly, the Bronx rapper continued to notch great guest verses on songs with Migos, Bruno Mars, and even G-Eazy, and her album Invasion of Privacy turned out to be the sort of all-killer, no-filler rap album that is a growing rarity amongst the likes of Culture II and Scorpion. “Bodak” was just the tip of the iceberg, and “Be Careful” immediately follows it on the album’s tracklist, further complicating the entire phenomenon that is Cardi B.

Taking cues from the flute-laced beats that were in vogue around 2016 to 2017, master producer Boi-1da approaches “Be Careful” with the same keen ear that defined earlier tracks or “Work” and “The Blacker the Berry.” On top of this, Cardi proves to be a charismatic singer in her own right, whether providing her own hook or interpolating the legendary bridge of Lauryn Hill’s “Ex-Factor.” It’s this particular reference that causes the track on the whole to sound slightly out of step with the mainstream, bearing a welcome resemblance to the pop-rap of the late 90s or early 2000s.

All of this makes “Be Careful” a standout in Cardi’s catalog, but the songwriting only enhances its quality. Where a song like “I’m Upset” or even Cardi’s own “Bartier Cardi” might feel more awkward in light of recent events, “Be Careful” and its verses about infidelity only ring even more powerfully after her particularly uncomfortable split from Offset. The second verse is one of her strongest so far, highlighting how her partner (who she apparently claims isn’t Offset) is affecting her mental health and exacerbating her insecurities. Anyone who dismissed Cardi as a one-dimensional artist after hearing “Bodak Yellow” and some spare guest verses may find themselves surprised at the vulnerability she displays so fearlessly here.

6. "God is a Woman" by Ariana Grande

Even a cursory look at 2018’s year-end chart will reveal that the genre of pop wasn’t nearly as significant as it was in a year like 2012 or 2015. You could probably tell just by reading this list, as it’s been dominated by rappers and The Weeknd, who took a turn back to his darker, alternative R&B sound. The sound of trap music doesn’t exactly lend itself well to a pop sensibility, which is why artists who attempt for some sort of middle ground (i.e. Post Malone) only end up sounding really wishy-washy and unimpressive. Of course, there are exceptions, and it comes as no surprise that one such example would come from Ariana Grande.

“God is a Woman” is a best-of-both-worlds marriage of the two sides of Sweetener: the bubbly trap crafted by Pharrell, and the massive Max Martin-produced pop that has become Ariana’s signature sound. In other words, the track has the hard-hitting drums of a Travis Scott song, paired with the momentum of songs like “Can’t Feel My Face” or “Style.” Nothing about the song feels compromised, especially as the song builds to a triumphant climax featuring Ariana’s whistle notes and a grand backing choir that make for one of music’s best moments in 2018.

The title of “God is a Woman” alone indicates that Ariana isn’t holding back here, even as she tackles the same forceful, sexually charged pop that characterized “Love Me Harder” or “Into You.” This time, she takes the familiar subject matter and infuses it with a sort of spiritually-informed feminism that’s just gleefully blasphemous enough to win me over instantly. All the while, she exhibits her full-bodied lower register, the aforementioned whistle notes, and even a delivery that transforms the Migos flow into something bigger and more portentous. In the pop landscape of 2018, Ariana Grande easily delivered on her title, easily claiming god status with this magnificent song.

5. "SICKO MODE" by Travis Scott

When I included “Love Galore” on this list in 2017, I feared that I may have given the impression that I dislike Travis Scott. I admitted that I didn’t like the song quite as much as “Drew Barrymore” or “The Weekend” (which could have topped this chart had it performed better), but it ranked relatively low on the list because I thought his verse was detrimental to the song as a whole. That said, I’ve actually been a fan of Travis ever since he refined the trap aesthetic on his debut album Rodeo, and it’s been a pleasure to see the Houston rapper continue to expand upon rap’s hottest sound to increasingly lucrative results. In 2018, he released ASTROWORLD, his biggest and best album to date, and he managed a surprise chart-topper with “SICKO MODE,” the cornerstone of the album.

The first minute of “SICKO MODE” might seem unsuspecting. Sure, the synth chords might be foreboding, but you’re soon greeted to an uncredited Drake singing about a friend struggling to make ends meet in a seemingly patronizing way. But he sounds better here than nearly any other song he made this year. The drums kick in, Drake adopts a faster flow, and as soon as he introduces Travis, the beat changes to a blend of hypnotic synths, fat bass, and whirring sound effects and samples. Travis’ flow is at its most infectious to date, and he cements his unique curator status with the iconic line, “who put this shit together? I’m the glue.”

After a cameo from Swae Lee, the synths glitch, and we’re treated to yet another sudden beat switch, this time to a more subdued, organ-laden production by Tay Keith. Drake also returns, seemingly motivated by Travis’ performance as he delivers one of his coldest flows since If You’re Reading This It’s Too Late. The resulting verse is a thrill to listen to, but Travis finishes off the track by building on Drake’s “out like a light” hook and using the same flow. Sure, Travis may be the one who put this shit together, but “SICKO MODE” proves that he knows how to make the most out of his collaborations.

It’s also worth noting that in a rap landscape ruled by the likes of Lil Pump and XXXTentacion, the five-minute runtime of “SICKO MODE” seems a little excessive. But the fact that the song is essentially a suite of much smaller trap bangers proves yet again that Travis Scott has an uncanny knack for upgrading the current sound. In a way, it’s also an answer to “Te Bote” in that Travis and Drake can at least justify the song’s length with a wealth of captivating musical ideas. When this shit is way too formal, y’all know Travis Scott doesn’t follow suit, and it’s a blessing to see him continue to innovate.

4. "Delicate" by Taylor Swift

Last year, I omitted what should have been an obvious pick for my Worst Hit Songs List: Taylor Swift’s “Look What You Made Me Do.” Maybe it’s just because anything Jack Antonoff touches immediately sounds good to my ears, but I couldn’t really muster up any sort of hatred for the song. On first listen, it registered as campy and nowhere near as self-serious as so many people made it out to be. That said, I understand why “Look What You Made Me Do” wasn’t so well-liked, and I still hold that it was a terrible choice for Reputation’s lead single.

Much of this belief has to do with “Delicate,” the song that – for whatever reason – precedes “Look What You Made Me Do” in the album’s track sequence. Much like that song, “Delicate” tackles the subject of fame, except in a return to the relationship-oriented format in which Taylor excels. She finds herself anxious that anything she says can be misinterpreted and used against her, realizing that her “reputation’s never been worse.” Thus, when she finally meets a guy who’s interested in her despite all the drama, it sparks a subtle kind of joy in her that builds as the song progresses.

“A subtle kind of joy” is also a good way to describe the instrumentation on “Delicate,” which always reminded me of the sounds The xx explored on their 2017 album, I See You. It shares a lot in common with that album’s subdued tropical synths, gently building dance grooves, and vocal manipulations. I See You was widely regarded as an expansion of the low-key, intimate sound that became the group’s calling card, and the same can be said about “Delicate,” which is only given deeper meaning with the firestorm of controversy that surrounded Reputation’s rollout. If this were released as the lead single rather than “Look What You Made Me Do,” perhaps the album would have been much easier to swallow.

3. "Nice for What" by Drake

Since writing my worst list this year, I’ve tried listening to Scorpion again, and with only a few exceptions, the album confirmed pretty much all the fears I had when I heard “I’m Upset.” If VIEWS was considered a decline in quality for the Toronto rapper, this album walked right up to the line of self-parody, seeing Drake moaning half-heartedly about women and fame on top of some of the sparsest, blandest instrumentals his producers have offered up to date. In other words, I know shorty, and she doesn’t want know slow song, which Scorpion offered up in smothering abundance. And while there are some songs on the album that succeed despite their obvious formula, the only song that breaks out of the mold is “Nice for What.”

If anything, the greatness of “Nice for What” only puts the its parent album’s failings into sharper focus. With every successive project, it seems that Drake tries adding a new style of music to his repertoire, whether it’s trap on Nothing Was the Same or dancehall on VIEWS. This time around, he’s trying his hand at the energetic, largely underground style of New Orleans bounce. The genre is known for its heavy use of samples, so it’s only fitting that the track not only samples bounce legend Big Freedia’s voice, but the second sample of the bridge of Lauryn Hill’s “Ex-Factor” to hit the charts this year. Where “Be Careful” only interpolated the bridge as a hook, producer Murda Beatz makes the sample the foundation of “Nice for What,” and it sounds absolutely blissful.

Then there’s the lyrics, which have been highly celebrated for their message of women’s empowerment. Given that this is by the same guy who made songs like “Hotline Bling” and “Child’s Play,” it could be easy to dismiss “Nice for What” as a textbook example of pandering, but I’d much rather hear Drake pandering than hear him say another goddamn word about child support. Furthermore, the song forgoes the usual trappings of female empowerment anthems written and performed by men by not harping on how badly he wants to have sex with the women he writes about. Top this off with Drake sounding the most energized he's arguably ever been, and it’s hard not to believe every second of the song.

2. "I Like It" by Cardi B, Bad Bunny, & J Balvin

In case it hasn’t been abundantly clear by now, Cardi B had an absolutely tremendous 2018. Looking over the year-end charts, she made eight appearances on the list, tying with Drake for the most spots occupied by one artist. Sure, one of those was “Bodak Yellow,” and half of them were guest appearances for the likes of G-Eazy and Maroon 5 (sigh), but the fact that she managed to churn out three more hits from Invasion of Privacy is still remarkable. I already discussed “Be Careful” at length, and “Bartier Cardi” was fine enough for what it was, but it was “I Like It” that landed her a second number one hit, and possibly the most important song of her career.

For starters, it’s worth noting that “I Like It” does something successfully that far too many hit songs don’t: it uses a sample of a well-known song to a benefit rather than a detriment. The song samples “I Like It Like That,” a 1967 track by boogaloo legend Pete Rodriguez that’s become a staple of Latin music in its half-century of existence. The resulting track is a mix of traditional Latin music instrumentation with a shuffling trap beat that’s just as lively as the music it’s referencing. In a year where reggaetón had a much greater mainstream presence than usual, it’s surprising that none of the songs that landed on the charts sounded quite as good as this.

While the production is certainly some of the best I’ve heard all year, you'd first go to Cardi B for her verses and her personality, which “I Like It” delivers in spades. The beat serves as the perfect backdrop for Cardi’s verse, where she brags about her taste for luxury goods, all the while referencing her enjoyment of things like NYC street food. It adds dimensionality to her well-documented rags-to-riches narrative, highlighting her Bronx roots while also celebrating her current success. A pair of excellent guest verses by reggaetón stars Bad Bunny and J Balvin show that she clearly plans to use her success for good, giving a greater platform to other Latinx artists.

It may not have been the near-record breaker that “Despacito” was in 2017, but the fact that “I Like It” was a smash hit further cements Latin music’s place in the American pop landscape. Make no mistake, considering how hostile the current administration and its supporters have been to Latin American immigrants, this is incredibly significant. Obviously, Cardi B is a more conventional rapper rather than a reggaetón artist, but she’s still a woman of Dominican heritage who’s using her music to show solidarity with her community, and if there’s any justice in this world, it could suggest a true cultural change in the near future.

But before I unveil my choice for the Best Hit Song of 2018, here are my Honorable Mentions:

“All the Stars” by Kendrick Lamar feat. SZA, “Pray for Me” by The Weeknd feat. Kendrick Lamar: Befitting of the Black Panther film, Kendrick delivers sharp verses about responsibility and fame, SZA and The Weeknd deliver fantastic vocals as usual, and the production combines cinematic swells with glitchy electronics. The only thing keeping these songs from the list proper is that the artists’ personalities feel slightly compromised.

“Boo’d Up” by Ella Mai: Since dominating the charts in 2014, DJ Mustard has been experimenting with his 808-driven sound. Here, he crafts a gloriously retro R&B track with London singer Ella Mai, creating a joyful, lovesick track that could be best described as “Boom Clap” for 2018.

“Sky Walker” by Miguel feat. Travis Scott: It’s been way too long since I’ve been able to talk about Miguel on this list. The 2017 album War & Leisure saw the R&B virtuoso coasting by on effortless vocals and charisma, but the blissed-out vibe of “Sky Walker” proves that’s still a lot of fun in its own right. Travis does his thing pretty well, too.

“Finesse” by Bruno Mars feat. Cardi B: I was wondering when someone would revive the new jack swing sound of the early 90s, and leave it to none other than Bruno Mars to be up for the challenge. It’s no surprise that he sounds as great as always here, but what does surprise me is how perfectly Cardi B’s flow fits.

“MotorSport” by Migos, Cardi B & Nicki Minaj: I can’t be the only one who thinks this song is pretty awkward to listen to now, considering the split between Cardi and Offset, as well as Cardi and Nicki’s feud that erupted later in the year. Still, everyone but Quavo puts forth a great performance, and Murda Beatz crafts one of this year’s most hypnotic bangers.

“In My Blood” by Shawn Mendes: Look, credit where it’s due, Mendes wrote a really good song about his struggles with anxiety, and he finally has organic-sounding production that compliments the song’s structure really well. I’m still not completely sold on him as a singer yet, but he puts forth enough effort for me to like “In My Blood” quite a bit.

“This Is America” by Childish Gambino: If I were including music videos in my placement of the songs on this list, this could have contended for the top spot. The song itself, while admirably direct in its lyricism and its freewheeling instrumental, works better as an accompaniment to the stunningly layered visuals that Glover assembled to put forth his commentary about race relations and gun control.

“LOVE.” by Kendrick Lamar feat. Zacari: Well over a year after its release, Kendrick Lamar’s DAMN. is still a phenomenal album. “LOVE.” still stands as a highlight from the album, boasting melodic flows, serene production, gorgeous vocals from Zacari, and one of Kendrick’s most poignant hooks to date. It may be the most pop-oriented track Kendrick’s put on an album to date, but at least he sounds like he’s actually putting in an actual effort.

And now, here's my pick for the Best Hit Song of 2018:

1. "No Tears Left to Cry" by Ariana Grande

In my 2017 lists, I made a recurring observation that popular music doesn’t exist without context. That mentality definitely crossed over into my previous list, where I didn’t choose the worst four on the list just because they were made by abusive people, but because most of them actively reminded me of their heinous acts. Of course, that also means that great art can be made in the wake of significant life events. It’s partially for this reason that Kesha’s triumphant comeback “Praying” topped this list last time, and in 2018, Ariana Grande made an equally powerful return with “No Tears Left to Cry.”

I don’t need to explain the circumstances that led up to this point, but since the release of “No Tears Left to Cry,” Ariana has made one thing abundantly clear: she wants to use her music to spread positivity into the world. The song starts off with soft, humming synths and Ariana’s heavenly voice, boldly stating that she’s ready to move on from her past trauma. As she repeats “I’m pickin’ it up,” the tempo follows suit, percussion begins to swell, and the song becomes a shot of pure UK garage-influenced joy.

The verses feature these stabs of synths, a persistent, dusty groove, and gentle strings that have all coalesce into a somewhat tense arrangement. During the first verse, Ariana opts for a more hushed delivery, somehow suggesting that it’s difficult to try and put forth that positive energy when everything around you is so overwhelming. And yet, she puts forth a real effort, climbing up in her vocal register. Now, the chorus introduced earlier hits even harder with the help of the quicker tempo and the fuller backing. “I just want you to come with me, we on another mentality,” she sings, implying that it could be just as easy for you to adopt the same mindset and charge forth in life.

Since its release, Ariana’s put out plenty of singles with a similar message. “The Light Is Coming,” “Breathin” and especially “Thank U Next.” Had it performed well enough, “Breathin” could have easily taken this spot for its massive buildup and its lyrics about coping with anxiety. But where that song may speak to the personal struggles with anxiety I’ve had in the last few years, I believe “No Tears Left to Cry” represents something broader, a new way forward of sorts. With so much lifeless, depressing music by repulsive human beings clogging the upper echelons of the charts, somebody needed to create something to challenge it. "I just want you to come with me," indeed.

Thanks for reading!

[atypical60]

I’ll get to the greatest clutch in a little bit. Trust me, this little bag is greatness!

But first, let me tap into the weekend. You know how when things go wrong sometimes it’s just a domino effect? So, let me start.

You know how when things go wrong sometimes it’s just a domino effect that piles up?  A coupla things happened.

Something happened to my tooth. I woke up Thursday with a throbbing pain on the right side of my face that went from my ear to my jaw.   And naturally, me, thinking I’m a dental school graduate, decided to poke around in my mouth.

When I touched one of my back molars I just about jumped through the roof of the Chateau!  My self-diagnosis was that I cracked my tooth whilst grinding my teeth during my slumber.

I can safely say that Curly and I have the same reaction!

And it didn’t get better.  So from Thursday on I’ve been living on Advil, Anbesol and some no-name numbing lotion for my teeth.  This is not the best way to live when one of your grown children is coming to visit. Especially when you have been looking forward to your daughter’s visit for a long, long time!

The plan on Friday was for Oona to fly into LaGuardia.  She was going to grab a quick dinner with her dad and then head onto the train for Philly.  Bonaparte and I were to pick her up at 10:30 Friday evening.

Are you still with me?

It rained Friday. Actually, it was an all-day downpour. No. It was more like the monsoon. And Oona’s flight to LaGuardia was cancelled.

But….she was lucky enough to get rerouted on a direct flight to Philly and we were able to pick her up at the airport earlier than anticipated!

A lesson in how bad things that happen can turn out to be very good things.

Who knew that a monsoon of a rainy day and a cancelled flight would make the day turn around to a much better one!!

Saturday was a very “Mommy and Me” day. We both had haircuts (and I had my roots done) by Adam and then it was manicure time at the nail salon.

We both had haircuts.  I was able to wear my bio hair all by itself.  Oona had a few inches taken off. She has a great head of hair!

It was all very good because we were going out to a local French restaurant that evening.  I really, really wanted to enjoy my dinner so I was popping Advil like those little dot candies on the long strips of paper. The throbbing, pulsating pain in my mouth would not go away!

In reality, it would be far better if Advil came on strips like this, I could just carry them in my purse and bite them off the paper every ten minutes!

We had dinner at Sips. We’ve gone to this restaurant a few times. And each time we went, we had a great meal. The kids love the place. I love the place. Bonaparte likes the place.

Thank God the wine was good! Because everything else was a disappointment. And I feel awful about that because this restaurant was always so wonderful.

I dunno what happened by the meal turned out to be horrible.  I’m not kidding. The only part of the meal that was great was the company. The appetizers were fine. Both Bonaparte and Oona ordered steak that was too well done.  One of the reasons I rarely order steak at a restaurant. I like it blue!  I had crab cakes that were way, way over seasoned. Dessert—well the cake tasted like a cake that you would buy at a discount grocery store.

Escargot.  I don’t know why these little buggers aren’t served in shells anymore..

My appetizer of Baby Octopus over Hummus. I wish I had ordered a huge portion of this for my dinner.  This was very good despite the remainder of the dinner!

We couldn’t figure out what was worse. The food or the fact that when Oona very politely-bordering-on-timidly mentioned to the waiter that she ordered her steak medium rare and it was well done.  He told her to cut into the center of the steak. Who says that???  He took the steak back.

You said WHAT to my daughter?  It’s a good thing the waiter took that overcooked steak back.

It was a sad moment because we always liked Sips but the quality of the meal was so sub-par that I think it’ll be a long time until our return. I don’t like when good restaurants turn bad.

But the good thing is that we were able to spend time together and have some good wine and great conversation. So, the evening was not a total loss!

Yesterday was fun day.  Oona and I went to the movies. We saw…

Our OOTD from yesterday.  I love Oona’s taste in clothing. She’s a bit more edgy than I am and she has a great sense of style.  Skinny jeans with a loose Boho Tee, a Moto jacket and a tassel necklace.  Her shoes are flats from J. Crew. I went with a casual mom look. Skinny jeans, sneakers, a loose sweater and plaid shirt. 

Beauty and the Beast!

The music, the visuals, the special effects, the story, the costumes, the actors–it all made for a great escape!  I want to see this movie again. And again. And again. And I’m not a huge Disney fan either but this was amazing!

It was GREAT!!! Emma Watson was fantastic as Belle and the best surprise was Kevin Kline as Maurice, her father. It was much better than the animated version and there was a bit of darkness to it.  Although not as dark as the Jean Cocteau version.

Jean Cocteau’s version of  La Belle a La Bete was the darkest version of this tale but it was also the most dramatic.  Jean Marias’ Beast performance as Beast was very moving.

After the movie, Oona and I took a trip to the mall

And that is where I found it.  In the mall. At Francesca’s.

Although I don’t frequent this store, the accessories and trendy jewely are perfect for summer!

The greatest, summertime, adorable, lightweight, roomy, cutest, most wonderful bag for women from 20 to 90 years old!

Have you ever been to Francesca’s?  I’ll admit. I haven’t. It doesn’t seem to be my type of shop.  The clothing is a bit too Boho for me. But …

The costume jewelry and tote bags for the summer were just so darned happy and bright and fun!!!

Inexpensive, colorful and fun jewelry for the summer.

I can’t tell you how much I love this little clutch bag. Francesca’s was having a “buy-one-get-one-for-60%-off” sale.  I ended up buying one for me and one for Oona!

This bag is so stinking adorable that I  cannot hold my glee inside.  DO you have any idea how difficult it is to find a navy bag–let alone a fun clutch for the summer? At $22, this is a great bargain. And those pom-poms!

Whaddya think? Is this bag great or what?? This is the summer bag. It can go to the beach, out to dinner for a bit of a dress up, the movies–anywhere! 

It snaps shut and the snap is sewn in very sturdy.

There’s enough room for my over-stuffed wallet, a phone, a comb and lipstick.

And with those little pom-poms, it’ll match any outfit! I’m dying here!

It’s a nice size too. Not too big, not too small. It’s just right!

The bag almost made me forget about my pained tooth.

The time together was way too short.  We really had a wonderful time talking about Oona’s life in Cincinnati, her job, her boyfriend and we binge-watched TV on our down time.

She left this morning for meetings in NYC.  I’m proud of my daughter. She’s a very independent woman and I’m glad she is her own person and a strong woman.  She’s a good girl! We had the best “Mommy and Meekend” (get it? Mommy and me–weekend?)

See our earrings?  Bauble Bar now has a jewelry line that is being sold at Target.  Aren’t they adorable?

The earrings match the pom-poms on the clutch bag!

As for me, I went to the dentist this afternoon.  My self-diagnosis was incorrect. I did not crack my tooth.

The pain is because I’ve got some gum issues.  I also have to stop grinding my teeth.  I have three teeny cavities that need to be filled.  I’ll be visiting a periodontist first—if my medical insurance allows. And I’ll get the little cavities filled.

Mother’s little helpers better get rid of this throbbing!

But for now, I’ll enjoy the antibiotics and the pain relievers that the dentist prescribed. But I do take my medications seriously and cautiously. I asked the pharmacist if it was OK for me to take my medication before wine. And not wanting to sound like a lush, I did mention that I only drink wine on Friday, Saturday and Sunday.   She said it was better for me to not indulge. We’ll see about that one.

There is no worse pain than a toothache–or the pain when your kids leave the homestead.

Do  you remember the Dave Clark Five? Do you remember this song “Having a Wild Weekend”?  had quite the wild weekend too. In a wildly wonderful way!

The Greatest Clutch Bag for Summer 2017. And a Great Mommy and Meekend! I’ll get to the greatest clutch in a little bit. Trust me, this little bag is…