Rolling Teenpop 2007 Thread

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Tim, it seems to me what you're doing is taking the social word "legitimate" which you may or may not agree with, and asking when "society" starts to apply this meaningful/meaningless word to a particular genre/artist/song. Which seems like an empty question to me - because if you're asking: when does a genre/artist/song become socially legitimate. But you aren't giving the conditions of legitimacy. (Unless you gave a definition earlier and I missed it? Or are we just using the PBS definition?)

― Mordechai Shinefield, Wednesday, 18 April 2007 05:58 (seventeen years ago) link

I don't think there are "conditions of legitimacy" in some coherent, definitionally contained sense, else "rockism" would be much easier to talk about.

Frank's point upthread:

"Also, it seems to me that rock and other forms of popular culture are remarkably good at not achieving consensus at what counts as legitimate, not to mention distrusting legitimacy and making the word "legitimate" something of an insult."

― Tim F, Wednesday, 18 April 2007 06:04 (seventeen years ago) link

I mean, a genre/artist/song will generally become socially legitimate straightaway for the person who likes it and is willing to go into bat for it (we might have to detour here to work out where we stand on the "guilty pleasure" - "I like this but I don't think it's legitimate").

I guess what I'm referring to therefore is more of a phenomenological experience of legitimacy, which is to say, when we immediately perceive a given piece of music, do we perceive it as legitimate or not, and why/why not? Are we doing so in in accordance with a pre-established rule or do we have to come up with a new rule of legitimation to explain what the music has done? (which is why AKA Mr. Jaq's suggestion of "assimilation" is pertinent)

― Tim F, Wednesday, 18 April 2007 06:12 (seventeen years ago) link

Are we doing so in in accordance with a pre-established rule or do we have to come up with a new rule of legitimation to explain what the music has done?

Assuming it's the second thing - that we make up the rules as we go along - doesn't that place us in a tricky spot? After all, we're redefining an otherwise meaningless word just so we can use it. (ie: Avril Lavigne is legitimate because she... has intelligent things to say about young male-female relationships. So that's what legitimate means. But when I'm talking about Frank Sinatra, it means something completely different. So we're playing language games just so we can keep the word around.) So even if you say it's the second thing, you still need to explain why we want that word so badly. I imagine it's because even with the second thing (redefining), we still leave "legitimacy" will a primary definition. Something like: Because Avril has these important comments that also means that it is valuable and productive to listen to her. Or, because the Clash has passionate political points that also means it is valuable and productive to listen to them. Essentially, it needs to point back to your first option - some essential rule by which we're designing the other rules.

― Mordechai Shinefield, Wednesday, 18 April 2007 06:24 (seventeen years ago) link

we still leave "legitmacy" with* a primary definition. ie: it's still a loaded word.

― Mordechai Shinefield, Wednesday, 18 April 2007 06:25 (seventeen years ago) link

I guess what I'm referring to therefore is more of a phenomenological experience of legitimacy,

Also, I'm not quite sure what this means. I've never had an experience of legitimacy when confronted by a piece of art. I've never heard anything completely out of context and thought: Wow! Legitimate! I've thought, wow, beautiful! So maybe that's why I'm having trouble relating to the word as something phenomenological. Re: Heidegger, can one be legitimate? Which is to say, can one act in a way in which they're being legitimate? And if they can, is that related to being 'authentic'?

― Mordechai Shinefield, Wednesday, 18 April 2007 06:31 (seventeen years ago) link

x-post - Yes exactly - I should have noted that I don't really believe the opposition "apply old rule"/"make new rule" works in this case - it's more like a chain of articulations in which every rule is an interpretation of prior ones.

In a lot of ways "legitimacy" (which may not be the word used, but other words will stand in for it - "real" for example) is loaded because it has to do all the heavy lifting thought-wise (e.g. the strawman listener who dismisses Ashlee because she's not a 'real' rocker and then goes no further - emphasis here intended to point to what I think is really problematic about this position).

So for me perhaps good criticism, and criticism which is conducive to pop music (pop in the regulative ideal sense), is about trying to shoulder as much of the load as possible, to do the heavy thinking that would otherwise be achieved simply by standing on the shoulders of prior articulations of legitimacy.

― Tim F, Wednesday, 18 April 2007 06:33 (seventeen years ago) link

"I've never had an experience of legitimacy when confronted by a piece of art."

What about an experience of il-legitimacy though? I'm thinking (again resorting to strawmen) of the parent who claims that their kid is just listening to noisy trash, or repetitive beats over and over. You're right that we normally don't register every piece of music or art or etc. as "legitimate", any more than we think "hey, i'm acting in accordance with the law" when we follow traffic rules. It's more where this legitimacy is called into question that we suddenly experience it, if only obliquely.

― Tim F, Wednesday, 18 April 2007 06:36 (seventeen years ago) link

Ok, let's say you're listening to MC Hammer in 1990. And you think: This seems off. So you're having some experience of his illegitimacy. Maybe you think: this guy looks ridiculous and he's doing something that seems imitative of what we consider legitimate hip-hop. So that's one kind of illegitimacy. Then you find out that he's a phony - he lied about his background and said it was poor when really he's from a wealthy family. Now he has a different kind of illegitimacy. A legitimate artist wouldn't lie about his background (maybe), so he's illegitimate in terms of that legitimacy too.

So considering this, are you saying both illegitimacies are linked? That you have the same (oblique) phenomenological reaction to either? Or are they so different (one is not staying true to a genre convention, the other is falsely representing yourself) that legitimacy is just a handy word to describe a lot of basically unrelated things?

― Mordechai Shinefield, Wednesday, 18 April 2007 06:42 (seventeen years ago) link

Hmph. That was supposed to read Vanilla Ice.

― Mordechai Shinefield, Wednesday, 18 April 2007 06:43 (seventeen years ago) link

It seems to me the whole idea of "legitimacy" is inseparable from the persona of the performer and thus, from my perspective, an entirely irrelevant subject in terms of the value of the music.

Following the Vanilla Ice example, Ice Ice Baby is simply a decent to good hip hop song that happened to become a smash hit. It's a fun, hooky rap song. There's nothing illegitimate about that.

Is Dean Martin singing a country song about a long lonely walk back to Houston "illegitimate?" How many times did Dean even GO to Houston?

What matters is if the song is good. If it's bad, that doesn't make it illegitimate. It means it's not well-written or well-performed.

― Matt Armstrong, Wednesday, 18 April 2007 06:57 (seventeen years ago) link

I also can't help but mention Jared Leto's great quote about his atrocious band:

"Like our music or not, people can't deny our legitimacy."

― Matt Armstrong, Wednesday, 18 April 2007 06:59 (seventeen years ago) link

x-post to Mordechai: I think they're linked insofar as that you're going through a simialr process of adjudicating the worth of the music against a particular standard and according to particular aspects which you consider to be important - those aspects or standards may of themselves be unrelated, but, assuming you have "an opinion" on an artist (rather than a range of different thoughts with no conclusion or summation) you're linking them.

So, what i was getting at in terms of invoking phenomenology is how this process of adjudication works at an individual level - and of course it might work differently depending on the artist, the song, the aspect you focus on, the people you're with, the bar you're at...

Matt - I think that's often true, and especially in pop, but I don't think legitimacy is solely or necessarily persona. Take electronic artists and the way in which (for example) The Field's legitimacy is impliedly linked to his relationship(s) with trance, french house, IDM...

― Tim F, Wednesday, 18 April 2007 07:01 (seventeen years ago) link

HOKU HOKU HOKU

Sorry, had to get this in here, Hoku just launched her NEW CAREER this past weekend, the same weekend her father passed away (she wrote a nice post about her father today). So power to her for deciding to go forward with it anyway as scheduled.

And...hey whattaya know, sophistication. "If You Don't Want My Love" has a loungey piano hook and a kind of elevator-R&B lazy syncopation. This isn't quite right but can't think of any other way to describe it...I guess what I'm saying is she sounds closer to being on the soundtrack of a Hugh Grant romantic comedy than she did before.

― dabug, Wednesday, 18 April 2007 13:09 (seventeen years ago) link

Huh, Hoku's got in her Top 8 friends the Archies version of Blink-182, called Hey Ladiez Band. "MySpace Girl": "OMG I found you surfing the web this afternoon..."

― dabug, Wednesday, 18 April 2007 13:12 (seventeen years ago) link

Dave, I don't have time for a search: do you happen to know if Antonina Armato and Tim James are involved in the new Hoku? (They'd produced her in the old days, now work a lot with Aly & A.J. and a little with Vanessa Hudgens.)

― Frank Kogan, Wednesday, 18 April 2007 18:32 (seventeen years ago) link

No, she's working with someone else (can't remember who offhand, googled it once, but can't look it up at the moment.)

― dabug, Wednesday, 18 April 2007 19:35 (seventeen years ago) link

Pop is the moment prior to legitimation

I'm not getting this for some of the same reasons that Mordy isn't. Even if you narrow it to "Pop is the moment prior to middle-class middlebrow 'art' and 'punk' and 'social-do-good' legitimation," that doesn't work, since middle-class middlebrow legitimation is part of pop. Challenges to or uneasiness with such legitimation are also part of pop, which helps to keep legitimation unstable. But you simply can't say that legitimation comes from somewhere outside of pop. So, unless you're saying that "Pop is the moment prior to legitimation's becoming stable" (if that means anything), I don't understand what you're saying. And why would you say it, anyway? (And how does legitimation become stable?) Are only new artists pop?

I feel that you're talking in shorthand, and I'm not able to read the shorthand.

To paraphrase Yung Jac*, all pop is potentially legitimate, and people who think otherwise can't stay smug in their belief, because there are too many of us around to knock them down. Which means the legitimation/counterlegitimation process is there from the get-go, and there's no "experience" that's prior to it.

I'd say that "legitimate" is a judgment, not an experience. Aren't you contradicting yourself when you tell Mordy that it's "where this legitimacy is called into question that we suddenly experience it, if only obliquely"? If we're already experiencing its legitimacy ("experience" is the wrong word; we're not experiencing the traffic laws, we're assuming them; we're not experiencing the music's legitimacy, we're assuming it), then the legitimacy is already there. But you're saying that pop is the moment prior to legitimation, so you're saying that we never make such an assumption about pop. We "experience" pop as illegitimate from the get-go. That doesn't seem true. What are you calling pop?

I just don't know what "moment prior to legitimation" is. At all. What would an example of such a moment be? What, for that matter, would be an example of a moment of legitimation?

*I call him Yung Jac 'cause even if he's over 40, he's probably younger than I am.

― Frank Kogan, Wednesday, 18 April 2007 19:56 (seventeen years ago) link

Jac, sorry about the "bigot" thing. That was an unjustified leap on my part. But I will say that the reason I made the leap was because you jumped in immediately talking about Avril in terms of marketing, and one thing I've noticed is that, as a class, "people like Ashlee" (in deeznuts' eloquent phrase) - and this would include Avril - are the ones whose work tends to get analyzed as marketing (rather than as, for instance, art).

Not that her music isn't being marketed - but then, I hope to successfully market the ideas that I work out in these threads; however, I don't think the most interesting thing about my ideas is that I'm trying to market them.

― Frank Kogan, Wednesday, 18 April 2007 20:09 (seventeen years ago) link

Writer and Jew Abby McDonald can't get a log-in to nu-ILX at the moment, and asked me to post this:

Taking this back to Robyn - Lex, I think you're on the wrong track re: pop/extremism. Actually, I know you are. Maybe the editing muddled the meaning, but Robyn was talking about 'more' as in, songwriting. She wanted more melodies, songs that had more human emotion to them, that somehow went further than Gwen delivered. And no, she wasn't making a statement about 'human emotion = proper music/pop' etc, it was part of a conversation about her taste and influences - the songs she admired and artists she connected with. As in, her personal love of music rather than any statement about what was 'good'

Also, she wasn't 'sounding off'. In fact, she was giggling adorably :)

― Dom Passantino, Wednesday, 18 April 2007 20:10 (seventeen years ago) link

But what I'm interested in is not the formal (empty) legitimacy implied by "all art is legitimate", but substantive social legitimacy, and the process of adjudication which considers pop (or whatever) to be worthy of the formal legitimacy you have granted it. Legitimisation is always performed, even if the conclusion is foregone.

I absolutely agree. In fact, I'm not sure the concept of "legitimacy" can exist outside a social framework. I don't think there is such a thing as "aesthetic legitimacy" (hundreds of posts will now inform that I'm wrong), or at least there shouldn't be. How you define "social legitimacy", though, is probably as difficult as defining art. And no, I don't believe there's a consensus about what art is. If there were, this thread, and all of ILM, wouldn't exist, and the world would be a dull, dull place. But if I'm going to make any sense at all, even if it's only to myself, I need to pretend to know what art is. Or, to put it less ironically, I need to know what I think art is (subject to change without notice, of course). If I don't do that, I'm worthless as a critic, and what I write would be even more confused than it already is.

Frank: No harm done. I tend to lean toward the "pop as package" theory, in which everything is a form of marketing. It's not necessarily meant as an insult, just what I consider a necessary perspective.

But Yung Jac! Does this mean I get to make a mixtape with Ludacris on it?

― AKA Mr. Jaq, Wednesday, 18 April 2007 20:47 (seventeen years ago) link

Just listened to the Avril, btw. Not bad, but she really needs those hooks, because when they're not there the melodrama is deafening.

― AKA Mr. Jaq, Wednesday, 18 April 2007 20:50 (seventeen years ago) link

Mediabase reports "Never Again" getting 1,276 Top 40 spins over about 5 days. Prorating that to seven days, that's 1,786, which would put it at about 30 in the Top 40 airplay chart. I don't know how that rates in relation to how her earlier songs started. The song is fairly weak on adult contemporary, which is still playing "Walk Away" and "Behind These Hazel Eyes" a lot more. And it's gotten only a handful of spins on "rhythmic" (hip-hop/r&b/dance) and no plays at all on the active rock or alternative stations.

The incredible journey of Pink's "U + Ur Hand" continues - now at number six in Top 40 airplay (7,159 spins) and still rising strong; Avril's "Girlfriend" at number ten and rising strong; Fergie's "Glamorous" at number four but will probably top off in the next couple of weeks; but significantly she's also up to number four on the hip-hop/r&b stations and rising stronger there; Rihanna's "Umbrella" is number 21 in Top 40 plays and rising very strong, and is at 28 in hip-hop/r&b and rising there, though not with such strength. Timberlake's "Summer Love" is taking off on Top 40 but much weaker on hip-hop/r&b. Maroon 5 "Makes Me Wonder" with a good start on Top 40, some though not a lot of action on "rhythmic," but in the top 20 on adult contemporary.

― Frank Kogan, Wednesday, 18 April 2007 21:21 (seventeen years ago) link

And LAX Gurlz getting no spins on Top 40 but are getting about 20 a week on Radio Disney.

― Frank Kogan, Wednesday, 18 April 2007 21:31 (seventeen years ago) link

And - uh - sorry, Frank, if posting this is stepping on any toes.

No prob. I was going to say something about CTRL-F, so you said about what I would have said.

― Frank Kogan, Wednesday, 18 April 2007 23:14 (seventeen years ago) link

I fear "Never Again" may be too edgy for Top 40 and too Kelly Clarkson for rock. If the world had any justice it'd go to number one on the modern rock station.

My opinion on the song is changing almost every time I listen to it, but I'm still pretty sure it's one of the very best singles I've heard so far this year. I just think it's still behind "Since U Been Gone"/"Behind These Hazel Eyes"/"Because of You". Right now I'm still inclined to list "Babies" as my fave 07 single thus far.

― Greg Fanoe, Wednesday, 18 April 2007 23:38 (seventeen years ago) link

I thought this MTV.com interview with Kelly Clarkson was v. interesting: http://www.mtv.com/news/articles/1557541/20070418/id_0.jhtml

― Greg Fanoe, Thursday, 19 April 2007 19:33 (seventeen years ago) link

From the Rolling Country thread:

In other less contentious news that hopefully won't make me seem like so much of a jerk, I finally decided that the cdbaby albums I recommened above by both Brandie Frampton and Tracy Delucia, despite both having a handful of real good songs, are both more uneven than I might have previously implied.

(In the end, I prefer the new Hilary Duff album to either of them, even though I'm getting the idea from the increasingly cryptic teen-pop thread that some people consider Hilary's new one a forced maturity/dignity move and hence a retreat for her. I don't hear it that way at all, but then again, I'm still waiting for her earlier stuff -- none of which albums I have around here anymore, sadly -- to connect with me.) (But this isn't country, duh.)

-- xhuxk, Wednesday, 18 April 2007 12:04 (2 days ago)

― Frank Kogan, Friday, 20 April 2007 17:21 (seventeen years ago) link

Good Charlotte, "Dance Floor Anthem"

http://www.youtube.com/watch?v=Uyg5_Chmmxg

Buckingham to Duff's Nicks?!

― da croupier, Friday, 20 April 2007 17:40 (seventeen years ago) link

Actually, what I love about the Hilary album is that she wants it to be a dignity move, but fails (maybe I'm misreading her intentions but I don't think that's too out-there of a suggestion). It's really pretty bonkers as an album, and the more bonkers it is, the more I generally like it...though even most of the non-bonkers material is good.

Is this thread cryptic? It does seem a little insular for me to depend on this thread so much and post nowhere else...it's a bit like what Eppy talked about a little while back, everyone kind of retreating to "their genre" -- or in this case, using the genre thread(s) to put all their posts regardless of subject -- and not trying to win anyone over where it's not likely they'll be receptive (arguing about/for Paris's album on the Reynolds thread was a lost cause and I felt out of place, though broader discussion was somewhat interesting).

― dabug, Friday, 20 April 2007 18:37 (seventeen years ago) link

I like the new Avril a lot. We've all talked about Girlfriend, But "I Can Do Better" and "Runaway" have the same energy and richness of melody. Even when a song occasionally sounds like derivative pop-punk (Everything Back but You), Avril's lyrics and vocals carry it. And I absolutely adore the power-ballads "Runaway" and "Hot." For all of Avril's attitude, maybe she's still best at pure love songs.

The second half of the album isn't so great, and I think the (non-power) ballads kind of drag. But I think this will be a worthy challenger to Kelly's record.

― Matt Armstrong, Friday, 20 April 2007 19:26 (seventeen years ago) link

Haven't even had a chance to listen to the Hilary or the Avril yet, I've been so busy. Just one more week until my life returns to normal. On the other had, listening to Radio Diz for the first time in a while yesterday and an interview with Miley Cyrus on the new songs for season 2: (paraphrase) - "We're going in a more pop direction this year. I mean, the music last season was pop too, but this is more like disco and fun and girly."

― Greg Fanoe, Saturday, 21 April 2007 17:36 (seventeen years ago) link

The idea of hannah montana season 2 OST being MORE fun and girly is mind-boggling.

― Matt Armstrong, Saturday, 21 April 2007 17:49 (seventeen years ago) link

I agree Matt, and what's even weirder is that it doesn't at all relate to the two season 2 songs ("Nobody's Perfect" and "Make Some Noise") that have been released so far

― Greg Fanoe, Saturday, 21 April 2007 18:36 (seventeen years ago) link

I played "Never Again" out loud in my office today. A 19 year old co-worker was aggressively outraged. "What the fuck are you playing? What are you playing this for?" "It's the new Kelly Clarkson single." "That's what I mean! Why the fuck are you playing this?" Emphasis on the this, not the you. "I think it's pretty good. It's not as good as "Since You've Been Gone" though". "I can't believe this". I must have looked crestfallen cos she then relented a bit. "I am a music fascist, though."

This was my only teenpop-related incident of the last few weeks, I guess.

― Groke, Saturday, 21 April 2007 18:42 (seventeen years ago) link

my recent incident was "you have to choose Matt, Paris Hilton or me."

I'm still thinking it over.

― Matt Armstrong, Saturday, 21 April 2007 21:15 (seventeen years ago) link

So what do people (Brits, Germans, Canadians, anybody) know about Pretty Donkey Girl? A google search suggests she's "the new Crazy Frog," and "Dolly Song" is a big ringtone apparently, which is good, because so far it's my favorite song (post-Boney M Cossak disco or something?) on the pre-release CD that fell into my lap at work. Said mule-like mammal (who strangely looks more like a lady hippopotamus on the CD cover) seems to also have a taste for Caribbean rhythms, as witness her excellent cover of Chubby Checker's "Limbo Rock plus "La Isla Bonita" plus "Don't Worry Be Happy" plus "Holly Samba," but she additionally dabbles in ragtime ("Pretty Intro," which is actually "The Entertainer" by Scott Joplin), bubble-goth ("Horror Show," total Lene Lovich/Nina Hagen new wave), country disco ("Mister Joe," her in retrospect inevitable and of course more than welcome version of Rednex' version of "Cotton Eye Joe") and early '60s pop ("Lollipop," which is the "oh lolly lolly" "Lollipop" -- who did that? it was always on TV commercials for oldies compilations for years, I kinda hated it then, and I haven't thought about in forever -- not Millie Small oddly enough since Millie would fit in with the island-rhythm theme), and more. And o'ourse it's all turned into "Hamster Dance"-style chipmunk-punk techno, as it should be. Is this on kids TV somewhere, or what? It's great!

― xhuxk, Sunday, 22 April 2007 01:01 (seventeen years ago) link

Oops, left out the Teutonic cabaret dance track "Ciao Ciao Goodbye" (I know it's Teutonic 'cause it sez "auf weidersehen" in there somewhere.)

― xhuxk, Sunday, 22 April 2007 01:08 (seventeen years ago) link

Trivia Question:

If you were to describe Hannah Montana's awesomeness using only metaphors, how awesome would you say Ms. Cyrus is?

― Mordechai Shinefield, Sunday, 22 April 2007 02:02 (seventeen years ago) link

my recent incident was "you have to choose Matt, Paris Hilton or me."

I'm still thinking it over.

-- Matt Armstrong, Saturday, 21 April 2007 21:15 (Yesterday)

Matt, please keep us informed as to how this plays out.

― Frank Kogan, Sunday, 22 April 2007 05:19 (seventeen years ago) link

Mordy: Miley Cyrus is about as awesome as a chronic, persistent, and extremely annoying respiratory infection.

― Dimension 5ive, Sunday, 22 April 2007 05:25 (seventeen years ago) link

"Matt, please keep us informed as to how this plays out."

Will do.

When it comes to metaphors, I always get stuck on the first one that comes to mind, even if it's not so great. With that said, I think Hannah Montana is as awesome as chocolate ice cream with crumbled reese's pieces on top.

― Matt Armstrong, Sunday, 22 April 2007 05:41 (seventeen years ago) link

Dolly Song" is a big ringtone apparently, which is good, because so far it's my favorite song (post-Boney M Cossak disco or something?)

More Haysi Fantayzee than Boney M, I'd say now, with a definite sea shantey meets Make 'Em Mokum Crazy bubblegabba bent. And "My Name Is Holly" is a rap ("When I say Holly you say Dolly" -- possible reference to Kano's 1980 metal-infused gay Eurodisco hit "Holly Dolly"??); "Holly's Farm" is basically "Old McDonald Had a Farm" done by robots.

― xhuxk, Sunday, 22 April 2007 19:36 (seventeen years ago) link

Also both "Holly Samba" (one of my favorites, along with "Dolly Song" and "Mister Joe") and "My Name Is Holly" are propelled by hey-hey-hey gang shouts.

Some youtube clues:

http://youtube.com/watch?v=Z77aY_LhxAc

"Dolly Song" is the same as "Holly Dolly" I guess.

http://youtube.com/watch?v=dwI4S6MH8zQ

At the end of the first one of those, the tag says "Netherlands," so maybe the nonsense words are in Dutch? I was starting to wonder if the donkey came from Japan. (The "Holly Dolly" video has anime-like parts. Not sure what to make of that little blackface-like bug character toward the end though.)

Also, interesting to note from youtube comments that I'm not alone in my "That's a hippo" opinion.

― xhuxk, Sunday, 22 April 2007 20:05 (seventeen years ago) link

Comment attached to second one:

its finnish, not gibberish

"Slap & Tickle" is not on my copy of the CD, oddly. (It also does not appear to be a Squeeze cover.)

― xhuxk, Sunday, 22 April 2007 20:07 (seventeen years ago) link

Holly Dolly has been a hit all over Europe now, one of those things that seems to crop up in France or Germany then get followed by several imitators. I tend to avoid them.

DJ Otzi is #1 in Germany at the moment, BTW. Teenpop thread regulars may remember Tokio Hotel; they're #3, fresh off the back of having had a hit in France with their previous single, somehow.

At #53 - 'Ich Rocke', by Debbie Rockt! I shall investigate and report back swiftly.

― William Bloody Swygart, Sunday, 22 April 2007 20:07 (seventeen years ago) link

http://www.youtube.com/watch?v=DNXOf9uKnWs

It's a bit boring.

― William Bloody Swygart, Sunday, 22 April 2007 20:10 (seventeen years ago) link

xp: Why avoid them??? Europe is so lucky!!!

Myspace etc. bring Italy into the equation:

http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=96168005

http://www.holly-dolly.eu/

Aren't Tokio Hotel sort of a glam-rock band?

― xhuxk, Sunday, 22 April 2007 20:13 (seventeen years ago) link

14-year-old new metallers, if I remember rightly, though they aren't especially heavy. Lead singer is a boy who could best be described as 'androgynous'.

― William Bloody Swygart, Sunday, 22 April 2007 20:21 (seventeen years ago) link

Omg. Just the idea of Jordan Sparks doing "You'll Never Walk Alone" from Carousel makes shivers go down my back. I haven't heard it yet, but I'm calling greatest performance of Sparks all season.

― Mordechai Shinefield, Tuesday, 24 April 2007 22:47 (seventeen years ago) link

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