In 2016, everything felt more intense. The most visible pop music was also some of the most political. The saddest songs came from people who passed away days after releasing them.
Debut singles from some of the most anticipated releases sounded broken. One of the best songs of the year received its studio debut 15 years after a live version was released.
Insanely catchy, meme-driven hits reached new levels of ubiquity. This is our attempt to make some sense of it all. As voted by our staff and contributors, here’s our list of the 100 Best Songs of 2016. Is not the boy you take home to meet your mother. He may look like a scuzzed-up but, with his copious face and neck tattoos (including one of Lisa Simpson scorched into his Adam’s apple) and a penchant for lyrics about cocaine and suicide, he makes Justin Bieber look like a picture of pure innocence. The 20-year-old Long Island native is a devotee of both trap wildman and emo heroes, and he’s racked up millions of SoundCloud plays as an unholy combination of the two.
Album 2015 28 Songs. Available with an Apple Music subscription. A list of films produced by the Bollywood film industry based in Mumbai in 1991. List of Bollywood films of 1991. From Wikipedia, the free encyclopedia. Jump to navigation Jump to search.
His best song so far, “,” is a power ballad at its core—but you’ve never heard a power ballad quite like this. Peep sounds like a zombie version of the late singer Layne Staley as he explores newfound vulnerabilities (“Nobody knows the me that you do”), takes solace in his outsider status (“I’m a freak/That’s why nobody’s friends with me”), and offers some semi-sweet nothings (“I think of you on blow”). A woozy mix of trap hits, tinny guitar strums, and sleigh bells(!) set an ominous tone, but just then, as the song seems destined to fade out, Peep’s voice rings out from the bleakness, begging for one more chance. Give it to him. –Ryan Dombal. The opening track to’s ambitious begins grandly, as Simpson intones, “Hello, my son, welcome to Earth” with the solemnity of a bible reading. He then establishes the record’s themes of fatherhood, love, and selflessness in the beginning of this lovely ballad.
But it’s at the 2:43 mark that “Welcome to Earth (Pollywog)” astonishes by breaking out into a wholehearted, exciting honky-tonk jam. Simpson, meanwhile, shifts his tone and sings about the regret he feels, having to tour during the most precious moments of his newborn son’s life. Warmth emanates from Simpson’s greatest point of vulnerability: When lamenting missing his son, the entire thing explodes with love and joy.
On an album of universal themes, “Welcome to Earth” is defining and contagious. –Matthew Strauss Listen. “Poetry is my hardcore,” the artist Camae Ayewa, aka, this summer. “Deadbeat Protest,” from her astounding debut album, is both at once: an 83-second industrial-noise rap with the all-caps ferocity of, but irreducible, more explicitly political, more necessary. “I'm in line at the soup kitchen,” she spits with a low, cooly unspooling monotony, as if threading lyrics to hold together a great tapestry of reality. “These pigs wanna blow my mind/These people wanna stop my grind.” The grating abrasion of “Deadbeat Protest” drones on, as Ayewa’s concrete-hard flow curlicues over it. She grunts and roars, shreds her voice, bends it like rubber.
It’s a picture of American upheaval, and it seethes, all energy barreling into the future without permission. –Jenn Pelly Listen. You might expect a conservatory-trained composer to lack fluency when it comes to electronic music, but makes herself right at home on the dance floor with “.” Kinetic and catchy, it's among the most straightforwardly clubby tracks on her third album, and demonstrates Bell’s ability to flow between dance, R&B, hip-hop, and experimental modes. In fact, you’d never guess that Bell hasn’t spent her entire career as an electronic producer, or that her last record was a Russian-language folk song cycle. Bell may have set out to use overtly commercial (and even “ ”) sounds, but the sheer exuberance of “Randomness” overrides her use of dance music’s most familiar hallmarks. The thumping beat and frosty synthesizer hook are about as true to convention as they come, but Bell brings a distinct spark of personality, her vocals landing with a slight sting. If you’ve never had the pleasure of mouthing the words, “ You ' ve got that shit eating grin when there’ s nobody smilin’” while going full-tilt in a crush of moving bodies, here's your chance.
–Saby Reyes-Kulkarni. How is it that —a young Floridian rapper who sounds like a combination of a half-asleep, a more sing-songy, and minus about two decades of life experience—is able to sound so wise? Part of it is that voice, which manages to croak and float; it doesn’t seem like anyone should be able to do both. The other part is his complete disinterest in being flashy.
“” is just two vocabulary-obsessed rappers doing what they do best. Kodak is a vibrant, economical writer: “People rootin’ for the hustler, I think I’m on next/At your neck, I don’t get tired, I ain’t gon’ rest.” His verse is quietly hypnotic, each line its own story, and then comes in, palpably reveling in his newfound freedom. They’re a great pair, but Kodak carries the track. He may not be asking for our attention, but he’s already earned it. –Sam Hockley-Smith.
Doubling as Johnson’s mission statement and her come-up fiesta, “I’m On” is taut, direct, and throwback hazy. Producer Drew Banga bolsters the 24-year-old Oakland, California MC’s vocals with tambourines and splashy tropical keyboards, recalling late-’80s/early-’90s R&B minimalism. Kamaiyah slides effortlessly from rapping to singing and back, retracing bleak yesterdays and brighter tomorrows with a dispassionate, no-bullshit rasp. “Remember when I didn ’ t have shoestrings?” she asks. “Now I pull up, hop out, watch that coup swing/Big money, get money, we do things.” As she relates, her rise seems equally incredible and inevitable: Her hard pluck overcame the hardest of luck, steering her from going hungry to scoring features on and tracks. In “I’m On,” Kamaiyah seems unfazed by her burgeoning success, but it’s hard not to celebrate her. –Raymond Cummings.
No song on ’s better exemplifies the album’s curious balance of sweetness and dissonance than “,” a song whose seemingly chipper refrain—“Wonderful, wonderful, wonderful”—belies its anxious, caustic mood. Atonal guitar figures skitter like spiders across pumping barroom piano, marimba flourishes, and sour bursts of throaty saxophone skronk. The net effect suggests a fender-bender between and, with as the lone eyewitness. As usual, “cryptic” barely begins to describe the Welsh singer-songwriter’s approach to narrative; if you’ve ever repeated a word to yourself until all meaning leached out of its suddenly alien contours, her verses here will have a certain uncanny familiarity. Ultimately, the song adds up to a kind of giddy riddle with an answer only Le Bon knows. But whatever she may mean by the declaration, “I wanna be a ten-pin ball,” knocking down the pieces and picking them up again proves endlessly fascinating. –Philip Sherburne Listen.
In inner cities, the saying “when it rains, it pours” often correlates to gunshots. This is especially true in ’s hometown. Violent crimes were down 13% in Detroit last year and still, the city still only finished behind St. Brown’s “” is a careful taxonomy of Detroit criminology that identifies the many types of gunmen in the so-called City of Boom, what drives them (poverty, mostly, but sometimes greed), and how locals, including Brown himself, try to escape from death’s grasp.
His flow is skittering and his vocals bend out of shape into his signature squeal. The way he cuts perspectives together is jolting; he relates with both the shooters and the victims, the jailed and the free.
Over a collage of percussive sound that rumbles with a thunderous boom, he is strikingly eloquent: “Dark clouds hanging all over our head/No sunshine and them showers be lead.” –Sheldon Pearce Listen. Tellingly credited to and his producer, the Atlanta rapper’s deliberate, chilling summertime EP worked a few notes (icy synths, ominous low-end, spoken-word delivery) into a fully crystallized aesthetic.
“No Heart,” a song that could be summed up as Fredo Santana meets, is the record’s highlight. 21 Savage ’s autobiographical imagery could be dismissed as horrorcore but his delivery makes it work as he subtly alters his flow with each verse, signaling a different train of thought.
In the end, the song becomes less about its shock value and more about how 21 Savage tells this story—it’s a treatise on the GBE-meets- aesthetic, a wisp of a banger confident in both its content and how it presents its story. –Matthew Ramirez.
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Julie is an anglo-Indian girl with a loving, but alcoholic father and a domineering mother, a younger brother and sister. She falls in love with her best friend's brother Shashi Bhattacharya, a Hindu boy, and she has a passionate encounter with him, which leaves her pregnant. He goes away to college, not knowing about her condition. Her mother is distraught when Julie tells her about the pregnancy. They don't tell the rest of the family. Her mother thinks about getting Julie an abortion, but a devout Christian talks her out of it.
Julie is sent away to have her baby in secret. The rest of the family is told that Julie got a job. When she comes back home, she runs into her Hindu boyfriend and tells him everything. He agrees to marry her, but his mother objects to the mixed marriage, not knowing about the baby born in secret. Julie's mother doesn't want the marriage either, as she and the rest of the family want to go to England.
Trivia Vikram stated 'I was offered - Julie - the biggest blunder of my life. Sure, it was a super hit, but for a hit like that, you must have a super role. Mine was the wrong role. Before this film, I had action films on one side and romantic ones on the other. I was just establishing an image. At that time, the Julie role shouldn't have happened because it was bad.The hero was suppressed in the entire film and it was totally heroine- oriented.
My mistake entirely. If I hadn't done this film, I would have slowly come into my own position. After Julie was released, I had a lot of problems.
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I was dropped from many films. At that time, a lot of heroes had refused the film.
I went by the name of Nagi Reddy, Madras banner, etc. But even one wrong move for an actor is enough. Even today, I repent doing that film.Only benefit was that before Julie, the kind of signing amounts I received were mind-boggling. And whatever money I got, I invested in shares or factories. Even today, I am secure because of those investments. I can make 10 films if I want to. Imagine, I had signed 20 films before the release of Julie and not one after it.
Even Amitabh wouldn't have survived by doing that role. Because even if it's a small role, you must look like a hero. I wasn't even in the climax. (Laughs) Utpal Dutt was the hero of the film.
First time I saw this movie, it was like a hottest movie due to one song in which Hero is seducing heroine. This was also Sri Devi's first Hindi movie. Although her role is not very significant. The plot is about the Anglo Indian family in Goa, which comprises Om Prakash as the father, and Nadira as a mother. They have two daughters and a son. Julie, the central character loses her virginity and gets pregnant.
Her mom objects to this because the boy she loves is Hindu. Then she takes her to some isolated place where no one knows the family. Main idea is to dump the baby and thus save the daughter in the Indian Samaj! What happens next is a typical Indian Melodrama, but is not boring at all. I don't want to spoil as it has a very good plot and enjoyable hit songs.
Boy's father's role has been played by always funny and humorous Utpal Dutt. It has some really good scenes, which will bring back memories of growing back in India, if you know what I mean.