These lyrics need to be taught in grade school because literally no one can understand what Britney is saying in Me Against the Music

"I’m up against the speaker trying to take on the music. It’s like a competition. Me against the beat. I wanna get in the zone. I wanna get in the zone. If you really wanna battle, saddle up and get your rhythm. Tryna hit it. Chick-a-tah! In a minute I’ma take you on. I’ma take you on."


Betty Who – Somebody Loves You (Liam Walds Remix)

I made this remix woooo! It’s my first real stab at ‘typical’ ‘EDM’ ‘sound,’ and I think I did it well. Sure, it’s a common sound, but I think the genre has a lot to offer in terms of fun, high-energy dance music. Plus, I think this is one of the best breakdowns I’ve ever produced. Check it out!



Carly Rae Jepsen, “Your Heart is a Muscle,” Kiss (2012)

"Your Heart is a Muscle" has an unreliable narrator, but not one in the smug sense that asks the audience to share in the author’s condescension of her. After all, CRJ makes a good argument. Your heart is a muscle. Why aren’t you working at this?

This might be my favorite song on Kiss, because it doesn’t comment on denial — it doesn’t really allow for the existence of denial — it just exemplifies it. “You’re a real good listener but you don’t have much to say.” It is trying to animate a relationship back to life, even while watching it ebb away as you think up excuses for why “you won’t pick up the phone, whatever.”

And yet, the song, text qua text, never loses hope, never fails to rebuke its hook: you say love’s a fragile thing, made of glass.

I love this song because, on first blush, the title seems like a metaphor. But it’s true. Your heart is actually a muscle, and you gotta work it out to make it stronger. Kiss is one of my favorite albums to run to; “Your Heart Is a Muscle” is the final song, and while its downtempo makes it less of a speed-boost as the other, dancier songs, its central message reminds me to keep on running, keep pushing into that 6 mile mark, so I can make my heart stronger.

To begin with Taruskin and his handling of Handel is to also begin with Bach, as Taruskin intertwines the two in his bipartite chapter, “The Class of 1865.”
This is a sentence I wrote that has a pun/wordplay in it and it is very likely appearing in my music history term paper. Bad idea or horrible idea?