BPG 2019 - THE END
- Thread starter RJF
- Start date
Fun fact, my grandfather was part of the team responsible for a lot of the engineering of the space shuttle! I went to many launches as a kid and got to tour a lot of places not open to the public because of his work.
none of that actually was factored into the score but it was always between bad guy and NASA and I just played NASA so much more.
none of that actually was factored into the score but it was always between bad guy and NASA and I just played NASA so much more.
...
11
SCORE: 8.414
11 x 1 (@aaronhansome)
HIGHEST SCORE: 10 x 32 (@Jwentz, @Sail On, @japanbonustrack, @ufint, @Joe., @aux, @dylanaber, @Sanctuary, @Vitamin, @Phloo, @sexercise, @GimmeWork, @Petty Mayonnaise, @Cutlery, @matthew., @Mushroom, @Seventeen Days, @Mirwais Ahmadzaï, @boombazookajoe, @Gabeee9292, @inevitable, @sapnu puas, @savilizabeths, @RMK, @Remorque, @askew, @Trinu 3.0, @Weslicious, @KingBruno, @Subwaykid, @Laurence, @Guy)
LOWEST SCORE: 4 x 2 (@Hurricane Drunk, @Solenciennes)
MY SCORE: 8.5/10
The Florida jumped out here. Despite NASA headquarters actually being in Washington DC, the space program is inextricably linked with Florida, thanks to generations of American children huddling around TVs to watch poor, foolish souls get launched into the radiantly blue skies above Cape Canaveral. It makes complete sense that a Florida gal would be drawn to NASA as a metaphor.
But enough about @aaronhansome.
Ariana also grew up in Florida, the queen of Boca Raton, a mere 56 hour walk from Cape Canaveral according to Google Maps. Here she takes the need for space in a relationship to literal extremes, cooing over Tommy Brown's terrific production that indeed sounds as if it's being broadcast from the other side of the cosmos. Synths as sonars over some terrifically sharp writing, and presented with a N!-A!-S!-A! hook that was made for screaming out at concerts, which is exactly what happened wherever this was performed. It was always a clear crowd favorite. Shangela stays winning!
...oh, fuck right the hell OFF to every single one of you who scored this less than a 9. Y'all really scored Thank U, Next higher than the best track on the album? Trash.
12
SCORE: 8.245
11 x 3 (@Dangerous Maknae, @Sanctuary, @Vitamin)
HIGHEST SCORE: 10 x 27 (@Dijah., @dylanaber, @allyshone, @Phloo, @2014, @sexercise, @Laura Vanderbooben, @soratami, @Slice of Life, @Cutlery, @Babyface, @matthew., @djmakemewet, @Ashling92, @Seventeen Days, @Mirwais Ahmadzaï, @OspreyQueen, @Petit nain des Îles, @Mr Blonde, @BEST FICTION, @askew, @that boy is a monster, @K94, @Subwaykid, @reputation., @Rem, @Diet Pop!)
LOWEST SCORE: 4 x 2 (@Jwentz (?!?!?!!), @MrMannacroix)
MY SCORE: 10/10
Bit of a surprise here, non? I thought this was a shoo-in for top 10 but it only scraped in there once and remained at #12 for the last 50 voters. Ariana grabs Pete by his veneers and yeets him back to Staten Island by telling him she invented him, which, as of yesterday it seems Pete agrees with! In his appearance on Hot Ones (a questionable choice of platform for someone with Crohn's disease, Pete you're going to have a flare up!) he admitted "she made me and created me."
I love this song and was thrilled to see it get a semi-video thanks to Ariana's Vogue cover, directed by Bardia Zeinali. Not Bardia half-assing a "Cover Performance" video and having it still end up better than Yummy. Mess! The production swirls around Ariana's voice like thoughts in her mind, churning in and out of focus. Also how good of a lyric is "I saw your potential without seeing credentials, maybe that's the issue"? yuh.
None of our 11 givers submitted commentary, but I just said "Bernie Sanders" into a mirror five times so I know @Sanctuary is about to turn up and gut us all like fish.
Yall what the actual FUCK. NASA outlasting this song is......and I thought this couldn’t get messier.
he/him
NASA missing the top 10 is proof that homophobia is alive and well in 2020.
the geepee Staten Island tweens belting NASA as if it were a number 1 at MSG
Which is difficult to get not everyone has that
Which is difficult to get not everyone has that
he/him
12
SCORE: 8.245
11
SCORE: 8.414
I didn't need this this week.
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I don't think there's much in it between 'Don't Start Now' and 'Never Really Over' and it would have been a nice moment for Katy, but yeah Dua as an artist is more well-liked so that will work to her favour I think.
10
Billie Eilish - when the party's over
SCORE: 8.45
11 x 5 (@Trouble in Paradise @Jonathan27 @KingBruno @R27 @TéléDex)
HIGHEST SCORE: 10 x 38 (@Dijah. @Music Is Life @dylanaber @eccentricsimply @theelusivechanteuse @maverick_79 @allyshone @Phloo @Blond @sexercise @soratami @joe_alouder @Slice of Life @Petty Mayonnaise @Cutlery @Babyface @sesita @AdzBrown @Seventeen Days @Mirwais Ahmadzaï @constantino @boombazookajoe @Bolton @Gabeee9292 @aaronhansome @Solenciennes @Petit nain des Îles @savilizabeths @Mr Blonde @Remorque @eliminathan @that boy is a monster @godspeed @reputation. @Diet Pop! @Sail On @japanbonustrack)
LOWEST SCORE: 2 x 1 (@PushyBakerFriend)
MY SCORE: 10/10
Just making it into the Top 10 by the skin of its teeth is Billie's most prominently known ballad... probably? I don't know. I initially thought that it probably benefited in the voting from the Grammys performance, but a quick look at the history of votes shows that it was actually always bouncing around this section of the leaderboard for nearly the entire voting period.
But yes, what a song. Billie has frequently citied Lana Del Rey as an influence, and if there's a song on the album where that influence is at its strongest, it's this one. The way syllables stretch and retract and fade into murmurs, and how it feels like there are gulfs of silence between lines sometimes in a song all about putting distance between things. I can even hear Miss Lanar doing that chorus. It's just a great modern pop ballad fuelled by a quiet Gen Z rage when you realise that being alone in the dark is far better than being with a fuckboi in the light. But enough about when @Laura Vanderbooben and I go our separate ways at the end of this rate.
Lemme throw this one over to @Jonathan27. I don't know what Miss J has more surplus of: feelings, or sexual tension with me, but this following testimonial leads me to believe it's the former... for now at least,
"Don’t you know I’m no good for you?
For a song as fragile as when the party’s over, it’s a hell of an opening line. I think there’s an intrinsic sense of stasis that sets in as we plateau: it’s delayed for queer people because we don’t get to experience puberty or growing pains at the same stages of life that the majority of people do, and that’s where I believe the parallels begin with Billie and my own experiences despite the differences in specificity. While Billie is nearly nine years younger than I am, I feel like these parallels emerge at ages of transition: mine manifested in restless escapism when I was Billie’s age, when my queerness was a scarlet letter I was trying to stifle until I managed to get out. Still, I felt ensnared by my circumstances. My parents are conservative to their bone, they would never accept me. Even if I left, I felt that I had to find peace in forging my own family. I’ve learned to lose you can’t afford to. I inadvertently developed an apprehension towards intimacy, craving it throughout my college years only to realize I was scared to death of it when someone was willing to give it in adulthood. It can almost like we become crystallized at a certain age: we keep making the same mistakes, drinking too much, doing the same drugs to feel something and risking our sexual health to feel wanted. I feel like this is a prominent issue that’s arisen with myself and my friends as we have navigated the bulk of our 20’s. I have friends who still talk about traveling overseas, coming out to their family or finally deleting the number that only lights up their phone at 1 AM but they’re in the same motions as everyone else. For me it’s the temporary fix that used to get me high, that same escapism I used to want as a kid was back but it was an escape from who I’d become. I couldn’t look at myself the same way because I felt like I didn’t even care that I was letting myself down. I had given up on any expectations so I just kept scratching the itch like a fucking addict. I could lie, say I like it like that. As we grow up our friendships change too. People either continue to grow with us or dissipate into memory, and suddenly there’s nothing to anchor our identity other than our own self-perception. Quiet when I’m coming home and I’m on my own. What do you do when you’ve hurt the only people who could once talk you down? For me, it was easier to feed my apathy, to shrug off my mistakes instead of working through them. I didn’t care who I hurt, I just wanted to be alone with my pain, to swaddle it in solitude and nurture it until it was enough to keep me company. While it’s nearly impossible to see past our present to a brighter future, it’s inevitably true that who we were in a singular moment is rarely an accurate depiction of who we really are. We are all the worst and best things that we’ve done, and the truth of our identity is somewhere in the middle.
I know I haven’t touched much on exactly why I think when the party’s over is an 11/10 song, but I don’t think I need to: the layered hums, the aching vocal delivery as Billie ascends her full register, that foreboding processed vocal undercutting the second verse result in a striking ballad that balances self-imposed loneliness and the desire for intimacy. I don’t think there’s much I can articulate about the song that can’t be conveyed simply by listening to it. Instead, I wanted to share why the song had such a strong impact with me both as a gay person and as someone floundering through their early adulthood."
Billie Eilish - when the party's over
SCORE: 8.45
11 x 5 (@Trouble in Paradise @Jonathan27 @KingBruno @R27 @TéléDex)
HIGHEST SCORE: 10 x 38 (@Dijah. @Music Is Life @dylanaber @eccentricsimply @theelusivechanteuse @maverick_79 @allyshone @Phloo @Blond @sexercise @soratami @joe_alouder @Slice of Life @Petty Mayonnaise @Cutlery @Babyface @sesita @AdzBrown @Seventeen Days @Mirwais Ahmadzaï @constantino @boombazookajoe @Bolton @Gabeee9292 @aaronhansome @Solenciennes @Petit nain des Îles @savilizabeths @Mr Blonde @Remorque @eliminathan @that boy is a monster @godspeed @reputation. @Diet Pop! @Sail On @japanbonustrack)
LOWEST SCORE: 2 x 1 (@PushyBakerFriend)
MY SCORE: 10/10
Just making it into the Top 10 by the skin of its teeth is Billie's most prominently known ballad... probably? I don't know. I initially thought that it probably benefited in the voting from the Grammys performance, but a quick look at the history of votes shows that it was actually always bouncing around this section of the leaderboard for nearly the entire voting period.
But yes, what a song. Billie has frequently citied Lana Del Rey as an influence, and if there's a song on the album where that influence is at its strongest, it's this one. The way syllables stretch and retract and fade into murmurs, and how it feels like there are gulfs of silence between lines sometimes in a song all about putting distance between things. I can even hear Miss Lanar doing that chorus. It's just a great modern pop ballad fuelled by a quiet Gen Z rage when you realise that being alone in the dark is far better than being with a fuckboi in the light. But enough about when @Laura Vanderbooben and I go our separate ways at the end of this rate.
Lemme throw this one over to @Jonathan27. I don't know what Miss J has more surplus of: feelings, or sexual tension with me, but this following testimonial leads me to believe it's the former... for now at least,
"Don’t you know I’m no good for you?
For a song as fragile as when the party’s over, it’s a hell of an opening line. I think there’s an intrinsic sense of stasis that sets in as we plateau: it’s delayed for queer people because we don’t get to experience puberty or growing pains at the same stages of life that the majority of people do, and that’s where I believe the parallels begin with Billie and my own experiences despite the differences in specificity. While Billie is nearly nine years younger than I am, I feel like these parallels emerge at ages of transition: mine manifested in restless escapism when I was Billie’s age, when my queerness was a scarlet letter I was trying to stifle until I managed to get out. Still, I felt ensnared by my circumstances. My parents are conservative to their bone, they would never accept me. Even if I left, I felt that I had to find peace in forging my own family. I’ve learned to lose you can’t afford to. I inadvertently developed an apprehension towards intimacy, craving it throughout my college years only to realize I was scared to death of it when someone was willing to give it in adulthood. It can almost like we become crystallized at a certain age: we keep making the same mistakes, drinking too much, doing the same drugs to feel something and risking our sexual health to feel wanted. I feel like this is a prominent issue that’s arisen with myself and my friends as we have navigated the bulk of our 20’s. I have friends who still talk about traveling overseas, coming out to their family or finally deleting the number that only lights up their phone at 1 AM but they’re in the same motions as everyone else. For me it’s the temporary fix that used to get me high, that same escapism I used to want as a kid was back but it was an escape from who I’d become. I couldn’t look at myself the same way because I felt like I didn’t even care that I was letting myself down. I had given up on any expectations so I just kept scratching the itch like a fucking addict. I could lie, say I like it like that. As we grow up our friendships change too. People either continue to grow with us or dissipate into memory, and suddenly there’s nothing to anchor our identity other than our own self-perception. Quiet when I’m coming home and I’m on my own. What do you do when you’ve hurt the only people who could once talk you down? For me, it was easier to feed my apathy, to shrug off my mistakes instead of working through them. I didn’t care who I hurt, I just wanted to be alone with my pain, to swaddle it in solitude and nurture it until it was enough to keep me company. While it’s nearly impossible to see past our present to a brighter future, it’s inevitably true that who we were in a singular moment is rarely an accurate depiction of who we really are. We are all the worst and best things that we’ve done, and the truth of our identity is somewhere in the middle.
I know I haven’t touched much on exactly why I think when the party’s over is an 11/10 song, but I don’t think I need to: the layered hums, the aching vocal delivery as Billie ascends her full register, that foreboding processed vocal undercutting the second verse result in a striking ballad that balances self-imposed loneliness and the desire for intimacy. I don’t think there’s much I can articulate about the song that can’t be conveyed simply by listening to it. Instead, I wanted to share why the song had such a strong impact with me both as a gay person and as someone floundering through their early adulthood."
fuck this
bury a friend and bad gut are absolutely NOT better than when the party’s over.....lmao. The latter is arguably the best song on the album. A modern day classic.