― nameom (nameom), Monday, 22 January 2007 13:51 (6 years ago) Permalink
― Tim Finney (Tim Finney), Monday, 22 January 2007 14:01 (6 years ago) Permalink
Seems to me that it'd be Ashlee who could give him sophistication in his lyrics (though honestly I don't know many Cure lyrics, but what in the world is unsophisticated about Ashlee's "Say Goodbye," for instance)?
― Frank Kogan (Frank Kogan), Monday, 22 January 2007 18:37 (6 years ago) Permalink
― Frank Kogan (Frank Kogan), Monday, 22 January 2007 18:40 (6 years ago) Permalink
Being hyped as the next Lily Allen. Teen enough for this thread, if perhaps not pop enough. Interesting though.
― zebedee (zebedee), Monday, 22 January 2007 19:46 (6 years ago) Permalink
Her song "Shake Your Pants" ("All my girls grab a boy and take him by the hand/ drag him to the dancefloor and make him shake his pants!") was written by none other than Drew Seeley. Shades of P!nk-to-be (or Fergie-to-be?) in "Girlfriend"...which made me finally check out Stacy Fergie Ferguson on Kids Inc.. Hadn't seen it since the show was actually on the air.
There's also some strange feature on her page where a buncha fans call in, say hello, and occasionally submit demos by phone.
― nameom (nameom), Monday, 22 January 2007 22:33 (6 years ago) Permalink
"Oh i miss the kiss of treachery the aching kissBefore i feed the stench of a love for a youngerMeat and the sound that it makes when it cutsIn deep the holding up on bended knees theAddiction of duplicities as bit by bit it startsThe need to just let go my party piece"
Obviously that won't do it for everyone. But hard verbs and nouns - solid words - do it for me far more than vaguer lyrics where your pointing at something, but lack the words for it. "Maybe you don'tLove me / Like I love you baby / Cause the broken in you doesn't make me run / There is beauty / In the dark side." Even as I write this, I'm not sure there's anything objectively better about the Cure song than the Ashlee song. Obviously a Springsteen song where everything is so specific - that's the height for me. And I feel like the Cure is somewhere in between. Like; let's get some synonyms for love, or at least an explanation of what makes this love more special than any other love.
― Mordechai Shinefield (Mordy), Tuesday, 23 January 2007 06:05 (6 years ago) Permalink
― Grey, Ian (IanBrooklyn), Tuesday, 23 January 2007 06:09 (6 years ago) Permalink
― Tim Finney (Tim Finney), Tuesday, 23 January 2007 07:34 (6 years ago) Permalink
(I don't think this is aimed at people like Jeff, who isn't comparing Kate to Lily but just mentioning that others are doing so.)
― Frank Kogan (Frank Kogan), Tuesday, 23 January 2007 07:45 (6 years ago) Permalink
The Ashlee line ("Maybe you don't love me/Like I love you, baby/'Cause the broken in you doesn't make me run") tells as complex a story as any stand-alone line I've ever come across, from anyone, song lyric, novel, play, poem, aphorism. Shakespeare, Austen, Berry. And generous and sad, the story. You don't need the rest of the song, even. You get everything: the situation, her attitude towards it, her feelings. On last year's thread Tim illuminated those lyrics better than I could possibly do, so I'll just paste in what he wrote.
"Maybe/you don't/love me/like I/love you/baby/'cos the broken in you doesn't make me run"
Something about that line is so ace, maybe it's that it drags out the simple first part so much, then all the meaning is actually so tightly compressed in the second half.
Then he elaborated a couple of weeks later:
Thinking of that line in "Say Goodbye", I think one of the things that makes it work so well is that, yeah, at first glance it sounds pretty straightforward, but actually it's almost encoded. A straightforward line would be something like: "You can't handle me 'cos I'm complicated" or "You only like me when I make you look good." But instead she says:
"Maybe you don't love me like I love you, baby, cos the broken in you doesn't make me run. There is beauty in the darkness. I'm not frightened - without it I could never feel the sun."
It's a lot less judgmental and, I guess, more reflective, this way: like she's just coming to understand the difference in the way that she and her (soon to be?) ex approach questions of love and relationships. And she's not sure which is right or wrong (if right and wrong there is) but she's not sorry for being the way she is. And then on another level she's telling him that it's okay to be damaged.
And then, in response to something Don said:
I think Ashlee is saying "we're both broken (damaged, not heartbroken), but you want someone unbroken (maybe because you can't handle your own brokenness). Whereas because I know that I'm broken I'm willing to accept that dealing with your brokenness is the only way I could make this arrangement work. You disagree, so this relationship isn't gonna work."
Wrapped up in this is the belief that the notion of a "fairweather friend" being a bad thing holds doubly true for relationships: that it's only by understanding someone in all their complexity and difficulty (rather than some seemingly unblemished pedestal perfection) that you can make love really meaningful.
I think Tim's on the money, and that Ashlee* does all this in 19 clear words, not quite conversational ("the broken in you doesn't make me run" would be a little odd in casual speech), but straightforward, not dressed in poetry.
I am a bit puzzled how such a simply worded line pulled off so much. I ruminated a bit about this last year (linked here, if you want to ruminate with me).
(*or Ashlee-Kara, or Ashlee-Kara-John)
― Frank Kogan (Frank Kogan), Tuesday, 23 January 2007 09:08 (6 years ago) Permalink
When the rain comes tumbling, tumbling down, will you be around?
Nicely sounded "tumblings," but the idea is clichéd.
Then you'll see my greatest giftIs fallin' down and takin' it'Cause everything is better when it hurtsMy biggest thirstIs happiness in all kinds of weatherFor worse or for betterI have it anywayBut happiness can't last foreverYou know there's never pleasure without the painHere it comes again
Now this doesn't pull together into any stories, and I'm not feeling its pleasure or pain. Given that Kara's a veteran songsmith, and Ashlee a youngster, one would have expected that Ashlee provided raw ideas, and Kara provided the craft and wisdom that turned them into art. But maybe Ashlee provided a whole hunk of the craft and wisdom as well, with Kara providing some of the ideas, or drawing them forth from Ashlee.
Really, there are some bad lines - way worse than these - on the Platinum Weird album.
― Frank Kogan (Frank Kogan), Tuesday, 23 January 2007 10:10 (6 years ago) Permalink
― Mordechai Shinefield (Mordy), Tuesday, 23 January 2007 19:03 (6 years ago) Permalink
Think it's better because in "Come Clean" Kara isn't using "rain" as a simple stand-in for "adversity," which is such a dead metaphor. Instead, rain buffets and cleanses. But actually, my listening to "Come Clean" is now enriched by knowing those Platinum Weird songs, since "adversity" adds something as subtext. E.g.,
Let the rain fall down and wake my dreamsLet it wash away my sanity'Cause I wanna feel the thunder, I wanna screamLet the rain fall down, I'm coming clean.
Imagine that the real first line is accompanied by a silent, alternate one:
Let the PAIN come down and wake my dreams
- which might even be what Kara had in mind.
(By the way, I think of Kara as the prime lyricist here, while she and John Shanks combine on the music; but I have no idea if that's true; in Lucy Woodward's account of working with Shanks and with Shelly Pelkin [Dave linked this on last year's thread], everyone seems to be throwing in ideas about everything.)
In general, it wouldn't be a bad idea for most songwriters to stop using weather imagery.
― Frank Kogan (Frank Kogan), Tuesday, 23 January 2007 20:37 (6 years ago) Permalink
Then you'll see my greatest giftIs falling down and taking it
How is this any less interesting than "the broken in you"? This is possibly my favorite lyric on the Platinum Weird album--whoever would think of the ability to take a beating as their greatest gift? There's something really striking there, in the double meaning of "gift" especially--submissiveness is her talent, her possession, and submissiveness is what she is offering. And while I agree there are some real clunkers on the album (and because they're mostly clunkers of the "crap, what rhymes with cloud?" variety, I'm going to guess they're all Kara's, although they may very well be Dave's), I also think there are plenty of evocative images. Frank, I believe you posted on last year's thread that "Mississippi Valentine" is one of your least favorites, but I like the photo album quality of it, and I also think "Crying at the Disco" and "When We Met" pull together very well. ("I may have said goodbye, but I never meant goodbye / They were only words, and some words aren't true" is another favorite. I can't think of a sharper way to say "but I didn't mean it!" As opposed to "let the rain come down and wake my dreams," which means...what, exactly?)
Also, the line in "Happiness" is "I'll have it anyway," which I think changes it a lot--it allows for the defiance with which she sings that line. In present tense, it's a shrug: whatever comes along, she's happy. In future tense, and in that tone, it's a challenge: hey, screw you, she's going to have her happiness, just watch.
Actually, overall, I think the thing about Kara writing for Kara is that she relies a lot more on her delivery--probably because she can, and probably because she doesn't have to tell the story of someone else's life. This thread seems to focus a lot on lyrics, which is fine, I love lyrics, but they're not independent of the music or the vocals. I think you can argue that, as text, Kara's lyrics don't read as interesting or as strong as Ashlee's or Hilary's, but together with the music and vocals, many of them are as good or better.
Anyway, nice to meet you all.
― Nia (girlboymusic), Wednesday, 24 January 2007 05:28 (6 years ago) Permalink
I think that Ashlee's a better singer than Kara, even if I'd trust Kara over Ashlee to hit a note dead center at 50 paces. Kara oversings. In fact, I think weak-voiced Lindsay - who pretty obviously models her phrasing after Kara's, and I wouldn't be surprised if she simply followed Kara's demos phrase-for-phrase in "Nobody 'Til You" and "First" - would have done a better job in "Avalanche" and "Somebody To Love," because she wouldn't have been able to bowl those songs over. My favorite moment on Platinum Weird is when Kara quietly goes "Your sorrow too" on "All My Sorrows."
― Frank Kogan (Frank Kogan), Wednesday, 24 January 2007 21:14 (6 years ago) Permalink
― jaymc (jaymc), Wednesday, 24 January 2007 21:18 (6 years ago) Permalink
tangentially related - i was thinking the other week about how the 'confessions' video completely cuts out all the "does she mean it? is she faking it? is she 4 real? is she being honest?" crap which is relevant to everyone else in pop music, from teenpop to indie to hip-hop, by virtue of her being a tabloid staple (ie the very thing which stops people taking it seriously). everything in that video is meant, is 4 real, is honest, and we know this because we've already read about it.
― lex pretend (lex pretend), Wednesday, 24 January 2007 21:32 (6 years ago) Permalink
― Frank Kogan (Frank Kogan), Wednesday, 24 January 2007 22:13 (6 years ago) Permalink
And no offense to David Moore, but an insight like: "Of course it would probably kill her music career, which too few people took seriously in the first place, usually because they took it way too seriously." just sounds like psychobabble to me.
― Mordechai Shinefield (Mordy), Wednesday, 24 January 2007 22:50 (6 years ago) Permalink
― Frank Kogan (Frank Kogan), Wednesday, 24 January 2007 23:31 (6 years ago) Permalink
― Frank Kogan (Frank Kogan), Wednesday, 24 January 2007 23:36 (6 years ago) Permalink
My hero story for Ashlee has her writing continually self-analytic, probing, and restless lyrics for continually catchy songs, and dressing really well and really outrageously, and slowly gathering a new audience on her own terms; but in reality I have no clue where she goes next or what models she follows. There don't seem to be any. Dance and r&b aren't really her thing, and these days Singer-Songwriter, Pop Star, and Punkette all seem dumber and duller than she is.
― Frank Kogan (Frank Kogan), Wednesday, 24 January 2007 23:57 (6 years ago) Permalink
― Frank Kogan (Frank Kogan), Thursday, 25 January 2007 00:11 (6 years ago) Permalink
I imagine as these (tablodish) things pile up higher and higher, it becomes harder for a Spears to emancipate herself from the role she's been thrust into. Ashlee can still reinvent herself.
But as far as almost all of this goes...I just don't see any of this happening at all. I do think Lindsay has more options and freedom (in her film career only), and that Ashlee is out in the cold. My main point is that her Disney/kid audience is crucial right now, and the recent tabloid stuff effectively kills her shot at "coming back" on Disney's terms (and, also importantly, that this didn't hurt Britney at all. But she certainly wasn't allowed back in the building -- "Toxic" could have been but wasn't shopped to the RD audience; this is the same company that five years ago could excise "I'm not that innocent" to make Britney OK for the kids...and I don't think they'd have to edit even that in 2004).
Another point I didn't really get to elaborate on is that Britney, by being in the limelight, gets to sidestep the tricky "authentic makeover" bullshit that Xtina just (successfully) went through -- so she gets to remain herself. Not to say that expectations of "authenticity" can't ever lead to great music, but that the expectations are idiotic and Britney transcends it, and so does Lindsay. But Ashlee doesn't, and we'll just have to see what Robert Smith has to offer her.
(If Meryl Streep says she can act, is anyone going to disagree?)
Well, this person disagrees.
― nameom (nameom), Thursday, 25 January 2007 00:57 (6 years ago) Permalink
Anyway, the Stylus is pretty funny - if not a little obvious. But I didn't catch a criticism of her acting chops. (I also read it during American Idol commercials - so I admit, I'm a little distracted.)
― Mordechai Shinefield (Mordy), Thursday, 25 January 2007 02:07 (6 years ago) Permalink
Can you please respect my privacy?" I don't know, LL-- can you please insult my intelligence? I mean, really, if you're going to put it that way, why not just put a "Kick Me I Like Swirlies" sign on the back of those jammies you wore to the last Hilton soirée? Yes, there's a fine line between being noticed and being watched, and a lot of celebrity reportage is just a few slime trails above Penthouse Pet photo captions; and of course no one's nip slips or panty peeks should find their way onto the Internet, but pointing out the injustice of it all isn't going to earn you Good Samaritan kudos or bonus Best Buy Bucks.
From Pfork at the time. The fact that rumors is kind of a fun dance song takes a backseat to the idea that Lindsay is really anguished about the rumors.
― nameom (nameom), Thursday, 25 January 2007 02:15 (6 years ago) Permalink
― nameom (nameom), Thursday, 25 January 2007 02:17 (6 years ago) Permalink
― Mordechai Shinefield (Mordy), Thursday, 25 January 2007 02:22 (6 years ago) Permalink
― Greg Fanoe (JustFanoe), Thursday, 25 January 2007 02:37 (6 years ago) Permalink
― Greg Fanoe (JustFanoe), Thursday, 25 January 2007 02:41 (6 years ago) Permalink
With Aly & AJ, I see it going in the other direction. As time goes on, I think they will start to incorporate more humor, lightness, and fun into their music, and phase out the acting. Which is a damned shame because Aly is a really great actress.
― Greg Fanoe (JustFanoe), Thursday, 25 January 2007 02:48 (6 years ago) Permalink
― Haikunym (Haikunym), Thursday, 25 January 2007 02:51 (6 years ago) Permalink
But maybe I didn't make my point very well which is that since Aly has more depth as a musician she's probably going to drop acting and since Lindsay has more depth as an actress she'll probably drop the music. Not that they aren't both good at acting and singing.
― Greg Fanoe (JustFanoe), Thursday, 25 January 2007 03:20 (6 years ago) Permalink
I'm wondering if part of the problem with Kara is that she has no identity, not as a a celebrity, not as an artist, not as a person. When Ashlee sings "I was stuck inside someone else's life and always second best," we can fill in the blank with the idea of Ashlee--black-sheep little sister, desperate to be seen and heard, because we've been sold that image alongside the songs. When Kara sings "so many nights I've heard you talk in delight about the promised land," we're left with the blank, because what is Kara beyond the song? You said it right there in your Voice review--there's no story to connect to.
Now, when you find out that Kara was raised by a religious, right-wing Republican congressman, does it make "Avalanche" any better? Or at least give it the possibility of being better? I think it does. We've both brought up "Crying at the Disco" as one of the better songs--is it maybe because it's so clearly tied to who Kara is? Maybe what Kara needs is not someone to turn her words and sounds into her words and sounds, but just a her to begin with.
Of course, at a certain point the music needs to speak for itself, and I do think Ashlee's music is more successful in establishing an actual identity--the story of that girl. But I don't think I would understand just how deeply Ashlee is (or wants to be seen as) that girl from the music alone. And then again, Ashlee is the focus of Ashlee's music, whereas Kara is ostensibly not the focus of PW's, so I'm not sure how much we can/should ask for PW's music to have a coherent personal identity.
Anyway, back to replying to your actual post: I don't know if I'd say Ashlee's a better singer. More distinctive, yes, and more contained (in a good way). Same goes for Lindsay and, to a lesser extent, Kelly Clarkson. But there are times when Ashlee sounds like she's struggling to sing bigger (the end of "Say Goodbye"), to the detriment of the song, and I don't think any of Kara's proteges are capable of, say, the eye-rolling sarcasm of "Is it finally gettin' to ya? Hallelujah!"
I do understand the disappointment with the PW album. I love "La La" about as much as you love Autobiography, and there is no "La La" on this album. But I do think it accomplishes more than you give it credit for, and I'd love to change your mind.
― Nia (girlboymusic), Thursday, 25 January 2007 05:52 (6 years ago) Permalink
"Take seriously" and "earnest" are becoming bizarre, shifting code words on this thread, and I'm not following. I take Lindsay's singing (and what I've seen of her acting) seriously. And I think she's a lot of fun. I take fun seriously.
Lindsay brings lots of humor and enthusiasm to her singing, when she wants to. Talked about this last year here (scroll down to the third entry) and here and here, and talked about her acting here.
Comic acting is just as rich as dramatic acting; in fact, I doubt that there's much difference, since in good comedies the actors are playing it straight - the characters don't know that they're being funny - and allowing the situations to provide the humor. And in Herbie: Fully Loaded, the scenes between Lindsay Lohan and Michael Keaton (playing her dad) are played absolutely seriously, somberly, even, and they have to be or else there's no way to care about the rest of the movie (both she and her dad are undercutting her calling as a stock-car driver, and you have to believe in their reasons and their uncertainty or else there's nothing emotional at stake, and therefore no exhilaration or release provided when the film gets funny).
Saw one episode of "Phil Of The Future," Aly Michalka was on for maybe two minutes total, and she was absolutely incandescent.
― Frank Kogan (Frank Kogan), Thursday, 25 January 2007 06:26 (6 years ago) Permalink
― Frank Kogan (Frank Kogan), Thursday, 25 January 2007 06:44 (6 years ago) Permalink
― Jack Cole (jackcole), Thursday, 25 January 2007 06:49 (6 years ago) Permalink
When I first saw Freaky Friday, I knew basically nothing about Lohan. Half way through the movie, I was sold--this girl was often wiping the floor with Jamie Lee Curtis, whose no slouch, and doing a better Jamie Lee than Jamie Lee did a Lohan.
Her pratfalls in Mean Girls were brilliant--her delivery of the voice-overs uniquely droll.
The only problem with her in A Prairie Home Companion was that every single person aroud her was at least 30 years older--how could she not seem out of place? And even then, she fully ehld her own against the vets---I got this real sense of her existing within this very well-thought-out chracter space of her own, no small feat considering, again, the competition.
in Bobby--a dire film in every other way--she was the sole element of stillness, of, again, being in that space, that person's skin.
I completely agree with Frank with the Foster/Silence thing. If she gets her shit together, I see no reason for her not to emerge from the teen thing just as Jamie Lee emerged from the slasher queen thing as a highly credible actor.
― Grey, Ian (IanBrooklyn), Thursday, 25 January 2007 07:33 (6 years ago) Permalink
― Grey, Ian (IanBrooklyn), Thursday, 25 January 2007 07:34 (6 years ago) Permalink
― Grey, Ian (IanBrooklyn), Thursday, 25 January 2007 08:16 (6 years ago) Permalink
On that note: I love Lohan's acting. And Frank, I think words like "sincere" or "earnest" or "authentic," when taken with acting, are absolutely absurd. They condescend to the actress (whether it's Lohan or Ali), assuming that her persona is far less fluid than a "real" "talented" actress. Which relates to Lohan's music career too. If an established actor/actress released a poor album (or a poorly received album), we'd feel comfortable saying that they made a misstep - or that the album is far weaker than their acting. But if Lohan is really an overarching persona, and not an actress, than we can't separate the music from the acting.
On that note: I found Lohan's singing unremarkable and unnecessary. I also found her acting excellent, and enjoyed watching every movie she's appeared in that I've had the opportunity to watch. And I don't feel one feeling necessarily has anything to do with the other.
Now I'm gonna go lie down in the bathroom and moan pitifully. This again has little to do with my enjoyment of Lohan's performances - except in the extant that I may even now be delusional. But that's a bad road to go down.
― Mordechai Shinefield (Mordy), Thursday, 25 January 2007 11:21 (6 years ago) Permalink
I take Lindsay's music seriously too (whatever we want to mean by "take seriously"), I just get the distinct impression that she doesn't seem to care about it too much one way or the other. And unless she shows that she genuinely wants it and she's willing to work her butt off for it, it'll never succeed. That's how JLo successfully made the switch.
― Greg Fanoe (JustFanoe), Thursday, 25 January 2007 13:12 (6 years ago) Permalink
For what it's worth, what I was trying to say before (even though what actually I wrote made no sense -- hopefully the change clarifies it) was that very few people do either of these things with Lindsay. They don't take Lindsay's singing or acting seriously (like in the review I linked; it's not so much that Lindsay's a bad actress, but that she doesn't deserve to be considered as an actress at all!) but they also take her, Lindsay the celebrity, VERY seriously, arms crossed, and they don't assume that she's funny or smart or self-aware enough not to be completely literal in, say, "Rumors." Or a magazine interview. "Confessions" is different, but it also isn't a representative example of her music and still needs to be understood in the context of her other work (and, like Lex said, the fact that the tabloid stuff was part of that context in this case can complicate reception of it, too).
― nameom (nameom), Thursday, 25 January 2007 13:27 (6 years ago) Permalink
― Greg Fanoe (JustFanoe), Thursday, 25 January 2007 13:33 (6 years ago) Permalink
haha, i know what you're saying, but this is ironic because lindsay's vocal srategy is heavily earnest, even when she's being funny - on the second album it's heavily cathartic and, as she tells us, RAW. (more playful on the first album.) whereas j-lo's vocals are the epitome of botherd-about-this can-we-hurry-up-my-car-is-waiting detachment. (both are v good at what they do.)
they also take her, Lindsay the celebrity, VERY seriously
people have odd attitudes towards celebrity - it seems to be treated in common parlance as some sort of prize, which one has to prove oneself for, by either obvious hard graft or obvious talent, and people like lindsay lohan, paris hilton, and jade goody (recently-disgraced-due-to-vile-bullying-and-racism uk reality tv star) are castigated by somehow being celebrities while sailing merrily and uncaringly through a series of parties and public appearances.
("singing teenpop songs" never seems to equate to "obvious talent" unless the singer has xtina-level pipes; lohan's acting DOES but she doesn't do enough of it) (i cannot believe i have yet to see mean girls)
― lex pretend (lex pretend), Thursday, 25 January 2007 13:36 (6 years ago) Permalink
― nameom (nameom), Thursday, 25 January 2007 14:04 (6 years ago) Permalink
And, for me, LL has only had three and a half good roles. (Granted, I haven't seen A Prairie Home Companion yet.)
― Haikunym (Haikunym), Thursday, 25 January 2007 14:31 (6 years ago) Permalink
Just My Luck was awful--the screenplay was the culprit. But even then, Lohan totally, almos recklessly, invested herself in it.
It was rather charming when she went on jay Leno and did everything she could do NOT to talk about it--her whole vibe screamed 'contractual obligation' and 'God, thos ine sucked'.
― Grey, Ian (IanBrooklyn), Thursday, 25 January 2007 17:35 (6 years ago) Permalink
country w/ recurrents
mainstream top 40
mainstream top 40 w/ recurrents
Christian AC w/ recurrents
mainstream urban w/ recurrents
alternative w/ recurrents
AC overall w/ recurrents
CHR/pop (These are now labeled "Top 40" and are basically the same as the "mainstream top 40 lists," which are also labeled "Top 40" but have slightly different totals)
CHR/pop w/ recurrents(ditto)
CHR Rhythmic w/ recurrents
active rock w/ recurrents
Limitations of these numbers: Obviously, they only take into account stations that report to Mediabase, and the rankings are based on total plays without regard to the size of the listenership or what time of day a song is played (though info on that is included in the chart).
The basic Mediabase URL is http://w2.mediabase.com/mmrweb/AllAccess.
For KDIS in Los Angeles, click on "7-Day Reports," click on "Station Playlists," tick "Station" rather than "Market," then type in "KDIS" and hit "Go," then click on "7-Day Playlist" on the right. Radio Disney has 51 affiliates, I think, so multiply each song's number by 51 to get national plays.
If you want to know whois playing a song, find it on some list and then click on the song. For instance, if you go to the "mainstream top 40" list you see that Avril Lavigne's "Keep Holding On" is 25th with 2,134 plays. If you click on "Keep Holding On," you get a list of the 50 stations in the genre ("mainstream top 40") that are playing it the most. She's doing pretty well in Salt Lake City, Raleigh, and Wilkes-Barre. (If you want to see who's playing her in different formats, choose another format.)
― Frank Kogan (Frank Kogan), Thursday, 25 January 2007 18:31 (6 years ago) Permalink