How Do You Love Someone reaching this high is personally one of the biggest surprises in this rate. I expected it to make the top 20, of course, but never go past #15 or so. This song was continuously in and out the top 10 and, much like Be Good to Me, it were the last few scores that albeit not vertiginous (I'm talking about mostly 8s) firmed it.
Frequently described as Ashley's most personal recording, How Do You Love Someone recounts the upbringing of a girl, marked by the destructive relationship between her parents and their resulting inability to educate her emotionally and set an example. But not Ashley. This is the story of one Alaina Marie Beaton, professionally known as Porcelain Black, who went on to make herself a household name and leads a career of success and chart-topping. Kii. Maybe in the future. In Uganda. Anyway, the story told in the song is all hers and it was she, in collaboration with the guy who co-wrote Like a Virgin and another responsible for Too Little Too Late, who penned it. There are two questions here: why did she sell off this song, personal content and all, and second why did anyone think this was a good fit for Ashley? I suppose this could even out the rebellious lite bad girl side of Guilty Pleasure but it's just not believable. I'll let Cosmopolitan explain it to you - poor whatever that has turned to, but it must be pretty low so that they consider This Poor Man Accidentally Got His Testicle Trapped In An IKEA Chair news: "Offstage, though, Ashley's mother, Lisa, and father, Mike, who runs a construction company, are very much together." Musically, it sounds like a dash of Evanescence, a hint of bad emo and a gallon of autotune. The result? An amazing song with an especially memorable chorus.
Well, personal or not, a song is a song and this one's certainly helped an immensity of people who've gone and are going through similar situation. I'll save DJHazey's commentary for the end as it is rather mammoth but you should all read it. Penguin's situation was a bit similar to mine: "She sounds awfully convincing on this, for a song that isn't personal. Guilty Pleasure is an amazing teenage soundtrack. I'm not sure if Ashley Tisdale had any actual problems with her parents, but for some time I did, and angsting with her in the background was kind of brilliant." I remember my parents having a really bad month arguing non-stop and I was so paranoid about them divorcing and had it all made up in my head. It's also why I didn't listen to this often and it took me a while before I didn't feel all sad and blue when it came on. "This is so gorgeous, I absolutely love the Porcelain Black version too but Ashley’s is more pop and still beautiful. What a epic love song. This doesn’t deserve to be a buried pop gem" laments GhettoPrincess, though I don't know about the 'love song' label. In a way, at least.
"So melodramatic, so overwrought, so extra. So amazing!" twirls tylerc904 while sexercise is completely unaware of what's going on. "This is so damn dramatic for no reason. It’s kind of great though. The fact that there’s a Porcelain Black cover of this is hilarious." I_CANNOT_USE_REAL_WORDS_PROPERLY_... Plethorya is more polarized: "Enjoyably melodramatic by the end, but that first verse is too cringe-y for full marks." I agree, it is just a bit... too much. Take it away, WhenTheSunGoesDown: "This song never fails to crack me up. It’s so unbelievably dramatic. That Lion King beat. Those lyrics. The misplaced autotune. The fact that her parents are still together. It’s a glorious mess." Only to have it taken back by headztrong: "One of the worst songs in her discography, I always hated it because it’s just not based on her life at all and it doesn’t fit the album." Those are two valid points, one I've talked about and the other I barely touched upon. They definitely weren't as concerned with sonic cohesion here as much as they were with bringing a scope of "mature" themes and emotions. Iheartpoptarts dubs it "very, um, melodramatic. Not exactly what I go to Ashley Tisdale for!"
There's a bit of an improper rave review from constantino: "YAS Ashley! Give me that daddy-issues ANTHEM that I crave! As much as I hate ballads, I fuck with mid-tempos so I’m all about this. Damaged queen!" I'm guessing it's not due to personal reasons since he doesn't mention it, but this was mat.overboard's 11: "Is this a left-over from 21? So amazing it hurts my soul." Comparing it to anything recorded for that album is a compliment and a half. (Though when you mentioned it for Delete You it wasn't quite acclaim I_CANNOT_USE_REAL_WORDS_PROPERLY_.) And now, a special DJHazey presentation. Read it.
"One of her most personal songs ever (I'm assuming some of her life experiences are here despite not having a writing credit). I was so astonished with how raw the words were when I first heard this ethereal masterpiece; it instantly became my favorite song many years ago. Some people could argue that her vocals melodies are a mess all over that chorus, but you've got to learn to appreciate them as part of the package and pretty soon you'lll be living for it all like the rest of us. In a way, it's kind of like how Miley's "Permanent December" is technically a mess all over but the end product is essential. It's no secret to some on this forum that I lived through a very rough childhood, where my "mommy and daddy" pretty much mirrored the parents described in this song (not exactly a 'divorce' persay, but similar and probably worse in reality). I accept the fact that it probably has some impact on the areas I struggle at when it comes to relationships as an adult. As you can imagine, countless tears have been shed over this song. It's examples like this which always have me shaking my head when people claim the "Disney-queens' could never have an emotionally impactful song because I'd put this up against most of them. I love how every chorus has a 'double-chorus' effect, but the real double-chorus at the end is the cherry on top and how glorious it is.! Take me to heaven queen! Don't hold anything back because I've already been slain by now!"
It's all right there in the lyrics. The narrator watched their parent's love fall apart in front of their very eyes and it has direct application to their ability to trust/love someone later in life. It's up there with Lindsay's "Confessions of a Broken Heart" as the one of the most devastating mid-tempos to come from a 'teen-pop' artist.