Cyprus chooses a female fronted pop banger once more Cyprus came dangerously close to winning the Eurovision Song Contest back in 2018, when Eleni Foureira finished in second place with ‘Fuego’. The year after, they tried a similar formula with another uptempo pop track performed by a female artist, Tamta’s ‘Replay’, finishing 13th. Last year they wanted to send male artist Sandro with dance infused tune ‘Running’, but he did not get another try after the contest was cancelled. This year, they try the upbeat, female fronted pop formula again with Elena Tsagrinou and the song ‘El Diablo’.
‘El Diablo’ is written by OXA, Jimmy ‘Joker’ Thornfeldt. Thomas Stengaard and Laurell Barker, who had previous Eurovision success with Switzerland’s top 5 finish in 2019. ‘El Diablo’ sounds like it was tailor made for Eurovision. There is nothing really original or unexpected about it, but at the same time it is completely irresistible. The chorus is an absolute banger with a superb hook and and explosion in the production. Admittedly, the verses aren’t nearly as strong. It is often hard to make out what she is even singing about and the lyrics you can understand aren’t particularly strong. The whole song kind of sounds like different ideas hot glued together as one tune, but the instant catchiness of that powerhouse chorus easily makes up for that if you ask me. Sure, if you want to, you can hear some similarities to some of Lady Gaga’s biggest hits, but nothing outrageous that warrants a plagiarism case.
A big pop number like ‘El Diablo’ does need a big performance on the Eurovision stage. A similar concept to the music video (that looks an awful lot like Zara Larsson’s ‘Love Me Land’) could work in the live performance too. At this stage, I am not convinced Cyprus will return to the top 10 of the scoreboard with ‘El Diablo’, as the track might be too generic and often been done before to go all the way, but a spot in the final should definitely be within reach with a decent performance in May in Rotterdam.
MORE EUROVISION REVIEWS HERE: CZECH REPUBLIC – FRANCE – ISRAEL – LITHUANIA – THE NETHERLANDS
MORE EUROVISION 2021 REVIEWS: CZECH REPUBLIC – FRANCE – ISRAEL – LITHUANIA
Following the release of Taylor Swift‘s highly personal “Anti-Hero” music video on Friday, the star received some backlash, with critics accusing the pop star of being fatphobic due to a scene in which Swift steps on a scale that reads “fat.”
On Wednesday, the scene was removed from the music video on Apple Music, as spotted by some eagle-eyed Swifties on Twitter. However, at the time of publication, the scene still remains on the YouTube version of the video.
Swift has yet to publicly comment on the change. Billboard has reached out to Apple Music, Swift’s rep and YouTube for comment.
Swift has previously spoken about her struggles with body image, including in her 2020 documentary Miss Americana. She has also opened up about personal nature of “Anti-Hero,” calling it “one of my favorite songs I’ve ever written,” as she’s never “delved this far into my insecurities in this detail before.”
“This song really is a real guided tour through all the things I tend to hate about myself; we all hate things about ourselves,” she explained in a video released ahead of Midnights‘ arrival.
Following the backlash, the hosts of The View came to Swift’s defense on Tuesday’s episode. Sunny Hostin noted of the critics, “They missed the point. For someone who’s an artist, she gets to have agency over her artistry. She was describing a personal experience, and quite frankly, it’s a personal experience a lot of women experience. I’ve experienced it, and men.”
Whoopi Goldberg added, “Why are you wasting your time on this? You all want to say something about Taylor Swift, leave her ass alone!”
It’s time for another exciting Heardle challenge. The popular musical puzzle shares the intro of a popular song every day, and players need to guess its title. Even if you’ve heard the song before, guessing can be pretty tricky at times since the starting bits of the intro are only played.
With six chances, the player is expected to crack the puzzle using the least number of attempts. With every failed attempt, the track’s length increases, making the puzzle less challenging.
The game has soared in popularity since its release in early 2022. Fans of Wordle can also give it a try, with the only significant difference being that this game involves guessing songs instead of words.
Heardle clues and answer: Thursday, October 27, 2022
Heardle offers a slight advantage to contemporary music lovers as the songs it shares daily are among the most-streamed tracks of the last decade. But that’s no reason for casual listeners or classic rock fans to get discouraged since many of the songs featured in the daily challenges are classics or smash hits that you may have heard in your favorite film/TV show, at a restaurant, or a party.
Take a look at some of the clues below, shared by Fortnite Insider, that can help you crack today’s Heardle challenge if you’re struggling to remember the song based on its intro:
Hint 1: The song was released in 2016.
Hint 2: The song’s genre is tropical house.
Hint 3: Single by Lost Frequencies.
Hint 4: Length – 2:38.
Hint 5: One word.
Hint 6: Begins with the letter “R.”
Hint 7: From the album, Less is more.
Hint 8: Featuring Janieck Devy.
Still haven’t guessed it? Then scroll down to find the correct answer.
The right answer to today’s Heardle challenge is Reality by Lost Frequencies feat. Janieck Devy.
More details about Reality by Lost Frequencies feat. Janieck Devy
Reality was released on May 18, 2015. The song is written by Felix de Laet, aka Lost Frequencies, Janieck van de Polder, and Radboud Miedema. It also features vocals by prominent Dutch singer-songwriter Janieck Devu. The song has a soothing and relaxing vibe that fans of house music and classic pop would love. It was a commercial success and also received widespread critical acclaim.
Lost Frequencies is a popular Belgian DJ who’s churned several hit singles over the years, like Reality, Where Are You Now, and Are You With Me. He’s released two hit albums: Less is More and Alive and Feeling Fine. Less is More. His debut album features memorable tracks like What is Love 2016 and Reality.
The album became a commercial success around the world. His second album was equally successful and featured songs like Sun Is Shining, Crazy, and Beat of My Heart. Fans of house, electronic, and pop music will enjoy Lost Frequencies’ tracks.
Conan Gray gives fans something to escape reality with on ‘Overdrive’ Conan Gray was brave enough to drop his debut album in March last year, just as the Covid-19 pandemic was taking over the world. This unfortunately prevented him from going on a proper international tour with the record, but at least his singles ‘Maniac’ and ‘Heather’ enjoyed success and now he already finished some brand new material. His first single released after the album Kid Krow is titled ‘Overdrive’ and it’s a sure fire hit!
“Wanted to start the year off with a song to escape from reality for a little bit with. Something to scream into the shower head and fantasize about secret lovers and alternate reckless lives we could’ve lived”, Gray wrote about the song on social media.
‘Overdrive’ is the type of big, upbeat pop song that works best when blasting out of a car on the highway, singing along at the top of your lungs. It has a similar vibe and production to ‘Maniac’ and therefore belongs to his most uptempo material to date. The chorus hits hard with hooks for days and lyrics that emphasize Conan’s free spirit. This track has all the potential to become his next mainstream hit without having to compromise any integrity. This is not just a bop, but a typical Conan Gray bop!
The music video, in which Gray imagines an adventure with a girl he sees at train station, is an absolute delight to watch!
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Taylor Swift can still make the whole place shimmer.
On Tuesday, the superstar dropped her second “Midnights” music video, for synth-pop bop “Bejeweled” — and the Cinderella-inspired clip is chock-full of Easter eggs, celebrity cameos and dazzling makeup moments.
Swifties can thank legendary artist Pat McGrath for the latter; the beauty pro not only masterminded the shoot’s many makeup looks, but also made a cameo in the video herself.
“Taylor called me with two questions. The first was to ask me if I would do all her beautiful looks; the second request was to be her queen in the video. It was such an honor,” McGrath tells Page Six Style exclusively.
The makeup maestro joined a cast that also included Laura Dern (as the evil stepmother), the Haim sisters (as the stepsisters), Dita Von Teese (as the fairy godmother — or “fairy goddess,” per Swift) and “Midnights” producer Jack Antonoff (as the prince), with the singer directing the video in addition to starring as Swifterella.
“When Taylor told me that she wanted me to play the role of the queen in her ‘fairytale with a twist,’ I was so flattered,” McGrath says.
“I’m usually a behind-the-scenes person, but Taylor was the most extraordinary director. With her guidance, she made me feel confident, secure and empowered to become Queen Pat. It was a day I will never forget.”
McGrath made a regal cameo in the clip.Taylor Swift/VEVO
As for that glittering glam, McGrath and Swift worked together to dream up a trio of looks fit for a storybook princess, including a bedazzled cat eye the pair teased on the VMAs 2022 red carpet back in August.
“We had such a fabulous time creating the looks for ‘Bejeweled’ — Taylor is such a visionary and thinks about all the details,” McGrath says. “When she mentioned that she wanted to make a video just for the fans who like shimmer, I knew this was going to be magical.”
“Shimmer” might be an understatement; between Swift, Von Teese and the video’s dancers, McGrath says she wound up using over 1,000 crystals for the shoot.
And while the beauty pioneer plays coy when asked whether she and Swift have more projects in the pipeline — “Mother never tells,” she quips — she was happy to break down the three magical makeup moments in “Bejeweled,” so fans can “polish up real nice” at home.
Look 1: Midnight Muse
To achieve this “powerful jeweled wing,” McGrath began by defining Swift’s eyes with PermaGel Ultra Glide Eye Pencils ($29) in Blitz Blue and Xtreme Black. Next, she created a cat eye by blending the Nocturnal Navy shadow from her Mthrshp Mega: Celestial Nirvana palette ($82) at the outer corner, followed by the Aquarian Dream and Bronze Infatuation shades on the lid “for added metallic shimmer.” Finally, McGrath reached for her Mothership II: Sublime Palette ($128), applying Blitz Emerald from the inner corner of the eye to the center of the lid.
For the look’s glossy nude lip, McGrath used PermaGel Ultra Lip Pencil ($29) in Structure to define Swift’s mouth, followed by a slick of MatteTrance Lipstick ($39) in Femme Bot and Lust Lip Gloss ($29) in Bella.
Sephora
Mthrshp Mega Eyeshadow Palette: Celestial Nirvana ($82)
Look 2: Bejeweled Beauty
This look “embodies elegance and empowerment,” McGrath says. For the “champagne crystalized eye,” she started with the shade Desert Divinity from the Mthrshp Mega: Celestial Nirvana palette ($82) both in the crease and beneath the eye, followed by Sterling from the Mothership IV: Decadence palette ($128) to add a metallic sheen. McGrath then created a classic wing using PermaGel Ultra Glide Eye Pencil ($29) layered beneath Perma Precision Liquid Eyeliner ($34), which she embellished with “sapphire tears” (blue crystals) in the inner corner and under the eye to complete the effect.
It wouldn’t be a Taylor Swift production without a red lip somewhere — and for this “bold, opulent ombré” look, McGrath applied LiquiLust Legendary Wear Matte Lipstick ($32) in Elson 4 after defining the lips using PermaGel Ultra Lip Pencil ($29) in Blood Lust — and then blending the same product in a darker shade, Deep Dive, around the outer corner of the mouth.
Sephora
Pat McGrath Labs LiquiLust Legendary Wear Matte Lipstick ($32)
Look 3: Dreamy Decadence
To create Swift’s “futuristic jeweled wing,” McGrath drew a cat eye (sharp enough to kill a man) using PermaGel Ultra Glide Eye Pencil ($29) topped with Perma Precision Liquid Eyeliner ($34). Next, she applied Astral Lilac Aura from the Mothership X: Moonlit Seduction palette ($128) for a “mesmerizing sparkle.” And while Swift didn’t exactly have diamonds in her eyes, she did have plenty of crystals — 70, to be precise, which McGrath placed on the lid and inner and outer corner using eyelash adhesive.
Building off the red ombré lip seen earlier in the video, McGrath deepened the look by using the same PermaGel Ultra Lip Pencil ($29) in Deep Dive to fully shade Swift’s mouth before blending LiquiLust Legendary Wear Matte Lipstick ($32) in Elson 4 on top.
Sephora
Pat McGrath Labs Mothership X Eyeshadow Palette: Moonlit Seduction ($128)
Jody Miller, a versatile singer with a rich, resonant voice who won a Grammy Award for “Queen of the House,” a homemaker’s reply to a hobo’s refrain, and had her biggest hit with a teenage anthem, “Home of the Brave,” died on Oct. 6 at her home in Blanchard, Okla. She was 80.
Her daughter, Robin Brooks, said the cause was complications of Parkinson’s disease.
Signed by Capitol Records as a folk singer, Ms. Miller released her first album in 1963 and cracked the Billboard Hot 100 the next year with the pop song “He Walks Like a Man.”
Her career took off in 1965 when Capitol, seizing on the popularity of Roger Miller’s “King of the Road,” had her hastily record “Queen of the House,” which set distaff lyrics by Mary Taylor to Mr. Miller’s melody and finger-snapping rhythm.
Where Mr. Miller (no relation to Ms. Miller, although they both grew up in Oklahoma) sang of “trailers for sale or rent; rooms to let, 50 cents,” Ms. Miller rhapsodized in a similarly carefree fashion about being “up every day at six; bacon and eggs to fix.”
“I’ll get a maid someday,” she sang, “but till then I’m queen of the house.”
The song was a crossover hit, reaching No. 5 on Billboard’s country chart and No. 12 on the Hot 100, and earned Ms. Miller the Grammy Award for best female country and western vocal performance in 1966. (Mr. Miller won five Grammys for “King of the Road” that year.)
That accolade did not prevent some country radio stations from shunning another single she put out in 1965, “Home of the Brave,” an empathetic ode to a boy who is bullied and barred from school because he doesn’t wear his hair “like he wore it before,” has “funny clothes” and is “not like them and they can’t ignore it.”
“Home of the brave, land of the free,” went the chorus of the song, written by the Brill Building stalwarts Barry Mann and Cynthia Weil. “Why won’t you let him be what he wants to be?”
Despite the opposition of some radio programmers to its anti-establishment theme, “Home of the Brave” becameMs. Miller’s best-selling U.S. single.
“I loved that song,” she said in a 2020 interview for an Oklahoma State University oral history project. “Unfortunately, it got a bad rap.”
Over time, Ms. Miller landed about 30 singles on the Billboard charts, 27 of them in the country category and several of those in the top five. In the 1970s she worked with the prominent Nashville producer Billy Sherrill, who guided her to another crossover hit with a cover of the Chiffons’ 1963 song “He’s So Fine,” which reached No. 5 on the country chart and No. 53 on the pop chart in 1971.
Ms. Miller made her last major-label album in 1979, then mostly stayed in Oklahoma to raise her daughter and to help her husband, Monty Brooks, with his quarter-horse business. She resurfaced later with an album of patriotic material and then, after becoming a born-again Christian, sang gospel music.
“I like to sing all kinds of songs, so I didn’t fit into a mold,” she told The Tulsa World in 2018.
Myrna Joy Miller, the youngest of five sisters, was born on Nov. 29, 1941, in Phoenix, a stop on her family’s move from Oklahoma to Oakland, Calif., where her father, Johnny Bell Miller, a mechanic, had a job lined up. Her mother, Fay (Harper) Miller, was a homemaker.
The family often played music and sang together. Johnny Miller was a skilled fiddler, and Myrna’s sister Patricia, whom she idolized, taught her to harmonize.
Aware of their daughter’s talent, Myrna’s parents entered her in singing contests, and her father sneaked her into bars, where she would climb atop tables and, she said, “sing my heart out.” She became known as “the little girl with the big voice,” according to Hugh Foley’s book “Oklahoma Music Guide III.”
The Millers eventually divorced, and when Myrna was 8 she was put on a bus to Blanchard, a small town just outside Oklahoma City, to live with her paternal grandmother.
Two songs Ms. Miller heard growing up made her want to become a professional singer. One was Mario Lanza’s version of “La Donna è Mobile” from “Rigoletto.” The other was a No. 1 hit for Debbie Reynolds in 1957.
“The day I knew I would devote my life to singing was the day I first heard Debbie Reynolds sing ‘Tammy,’” Ms. Miller wrote on her website.
After graduating from Blanchard High School in 1959, she got a job as a secretary in Oklahoma City and moved into the Y.W.C.A., where she would practice the folk songs she learned at a local library.
Her hopes of a recording career got a jump-start one night at a coffeehouse where she was the opening act for the singer Mike Settle. The popular folk trio the Limeliters came in to see Mr. Settle, but also caught Ms. Miller’s performance. Impressed, the group’s Lou Gottlieb urged her to move to California if she was serious about a singing career.
She married her high school sweetheart, Mr. Brooks, in January 1962, and together they headed to Los Angeles. After arriving, they contacted the actor Dale Robertson, a fellow Oklahoman and a friend of Mr. Brooks’s family. He helped arrange an audition at Capitol Records, which quickly signed Ms. Miller and suggested that she change her first name.
Her first record, “Wednesday’s Child Is Full of Woe,” was a collection of folk songs on which she was accompanied by session players like Glen Campbell and, she told the Oklahoma publication 405 magazine in 2012, an “unknown teenager” providing some of the backup vocals who later became known as Cher.
The record’s timing was unfortunate.
“By the time I cut my first LP with Capitol, folk music was on its way out,” she said. Thus began her pivot to pop and country and a career that took her to, among other places, Hawaii on a tour with the Beach Boys; television shows like “American Bandstand,” “Hullabaloo” and “Hee Haw”; and a 15-year run as a top draw in Las Vegas and Lake Tahoe.
Her album of patriotic songs, recorded in 1987, found its way to Vice President George Bush, who invited her to sing at his campaign rallies when he ran for president the next year. When he was elected, she sang at an inaugural ball.
In addition to her daughter, Ms. Miller is survived by two sisters, Carol Cooper and Vivian Cole, and two grandchildren. Her husband died in 2014.
Ms. Miller’s final recording, “Wayfaring Stranger,” is to be released next month on what would have been her 81st birthday. A mix of country and gospel songs, it includes a new version of “Queen of the House” and the title song, a 19th-century spiritual that was part of her repertoire when she started out as a folk singer 60 years ago.
Eric Saade returns to Melodifestivalen and is in it to win it This year marks the tenth anniversary of Eric Saade’s victory in Melodifestivalen (Sweden’s biggest annual music event and preselection for Eurovision). In 2011, he represented his country at Eurovision with the song ‘Popular‘ and finished in third place. In 2021, he is onto his fourth participation in Melfest (he also finished 3rd in 2010 with ‘Manboy‘ and 5th with ‘Sting‘ in 2015) with his brand new single ‘Every Minute’. Saade is in it to win it once more!
In past years, Saade mostly released music in Swedish, but for Melodifestivalen he switched back to English. He co-wrote ‘Every Minute’ with Jimmy ‘Joker’ Thörnfeldt and Joy and Linnea Deb, with Joy Deb producing. They created a heavily electronic pop song with a contemporary feel. The production is effective with its stripped bare beats and rich vocal effects. The main hook is simple and straight to the point, but that doesn’t make it any less addictive. The melodies are strong and the ‘oh nananana’ parts are guaranteed to keep playing over and over in the back of your head. In the lyrics, Saade sings about how he wants to be intimate with his partner every minute of the day, getting more explicit in the second verse when he mentions the neighbours being able to hear them. Cheeky!
Now ‘Every Minute’ is a hit worthy tune that wouldn’t be out of place in international charts, but what really elevates its chances in Melodifestivalen (and potentially Eurovision after that) is its outstanding stage performance. Eric being alone, dressed in white in front of a black backdrop, doing a quirky choreography is all that is needed to make this performance completely captivating. Sure, his vocals won’t be the strongest of the night, but he holds his own with the song. Although the bookmakers think Tusse will win Melodifestivalen, to me, everything about Eric’s song and performance scream winner. We will know who will represent Sweden at Eurovision when the Melodifestivalen final takes place on the 13th of March.
CHECK OUT MY REVIEW ON DOTTER’S ‘LITTLE TOT’ HERE.
