2022 Biggest Hits Mashed-Up In 4-Minute Banger By DJ Earworm


How does one make sense of every single pop music hit from 2022 in less than 4 minutes? Mash-ups baby! California’s DJ Earworm has been presenting his “United State of Pop” mash-ups every year for quite some time, and now the 2022 “United State Of Pop (I Want Music)” has arrived.

Pretty much guaranteed that you won’t hear Steve Lacy‘s “Bad Habit” woven in and out of Beyonce’s “Break My Soul” and Harry Styles’ “As It Was” quite like this. The mix feels like one big walk of shame…err..triumph, through the year in pop and you can hear it above. Meanwhile, checkout the listing of the 25 tracks that appear on DJ Earworm’s “United State Of Pop (I Want Music)” in alphabetical order below.

Bad Bunny – “Tití Me Preguntó”
Bad Bunny and Chencho Corleone – “Me Porto Bonito”
Beyoncé – “Break My Soul”
Cast of Encanto – “We Don’t Talk About Bruno”
Doja Cat – “Woman”
Elton John and Dua Lipa – “Cold Heart (Pnau Remix)”
Future – “Wait for U (feat. Drake & Tems)”
Gayle – “Abcdefu”
Harry Styles – “As It Was”
Harry Styles – “Late Night Talking”
Imagine Dragons – “Enemy (feat. JID & League of Legends)”
Jack Harlow – “First Class”
Justin Bieber -” Ghost”
Kate Bush – “Running Up That Hill”
Kodak Black – “Super Gremlin”
Latto – “Big Energy”
Lil Nas X – “Thats What I Want”
Lizzo – “About Damn Time”
Morgan Wallen – “You Proof”
Nicky Youre and Dazy – “Sunroof”
OneRepublic – “I Ain’t Worried”
Post Malone and Doja Cat – “I Like You (A Happier Song)”
Sam Smith and Kim Petras – “Unholy”
Steve Lacy – “Bad Habit”
Taylor Swift – “Anti-Hero”

Up and Coming Pop Singer Becky Raisman Surprising Fans With Recent EP Titled ‘Cruising’


Carrying the true essence of the Pop music genre, the promising singer Becky Raisman has released a fresh EP. Entitled ‘Cruising’, the EP is now out on Spotify.

The performing genre of Pop music has given several artists fame and popularity in the music industry across the world. Even though the music genre is undoubtedly the most popular one, it is pretty hard to nail the music of the pop genre. However, the up-and-coming artist Becky Raisman is a fine example of a pop singer who can lift the energy of the entire room with her music. Her recent EP, ‘Cruising’ proves to be the exact same that fills up the room with vibrant energy. The artist has once again shown her worth and caliber as a singer by producing magnificent vocals that made the tracks even more addicting.

The EP contains a total of 4 tracks which are enough to prove the artist’s talent. With each release, the musician seems to be expanding her reach and making a mark on the music release. The release is standing proof by the artist that she is in the industry for the long run. Becky Raisman has delivered exceptional performances as not only a singer but also a writer, composer, and producer. This is why the artist is called a versatile musician who has solely managed to self-produce a track. ‘Cruising’ has four songs that are equally captivating for the listeners. The songs are, ‘I Can Be Your Crush‘, ‘Finally Begun;’, ‘Go Cruising‘, and ‘Let’s Not Over Complicate‘ which were recorded at Audio Wave Recording and Solar Sound Studios.

You can listen to the tracks and the EP on Spotify, Apple Music, SoundCloud, Reverbnation, and YouTube. You can also gain insights by following her on Facebook and Twitter.

Listen to this album on Spotify :

https://open.spotify.com/album/5WnYRxomxIbZ3OIysMYDjp

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New musical brings high-energy world of K-pop to Broadway


NEW YORK (AP) — There are some familiar storylines in a new musical opening on Broadway — a singer and her relationship with the mentor who guided her; a newcomer trying to find his place; young women chasing their dreams.

But they’ve never sounded quite like this.

The global sensation that is Korean pop music is coming to center stage in “KPOP,” opening Sunday at the Circle in the Square Theatre.

With an almost entirely Asian American and Asian cast, many of whom are making their Broadway debuts, the musical is set as a backstage look at some K-pop performers as they get ready for their debut show in New York City. Conflicts break out and get resolved, ending in a concert-like performance.

The show’s Broadway arrival has been a long time coming for playwright Jason Kim, who first conceived of a play around K-pop about a decade ago and staged an off-Broadway version in 2017, with music and lyrics composed by Helen Park and Max Vernon.

Born in South Korea, Kim came to the United States as a child, settling with his family in the Midwest. K-pop has been a fixture in his life, as have Korean television dramas. He also loved musical theater, especially shows like “A Chorus Line” and “Dreamgirls” where the story is about what’s happening behind the scenes.

“I love backstage shows,” he said. “Is there fighting going on in-between everybody? Do they all love each other? These are the questions that I asked myself.”

In the initial stage version of the show, Kim was introducing the machine of K-pop to an American audience largely unfamiliar with it; five years later, it’s been rewritten for a world where K-pop musical heavy-hitters like BTS and Blackpink are pop chart mainstays, amid a slew of other Korean entertainment in movies and television like “Squid Games” becoming more popular in the U.S. as well.

Back then, America “didn’t really know what K-pop was, and so there was a lot of explaining that I had to do. … This time around, I didn’t have to really take the stance of having to apologize for anything or having to explain anything, and just let the story unfold,” said Kim, a writer in television and film.

He called the timing “really serendipitous.”

“It’s been really profound and moving actually to watch the world shift in this way.”

A Broadway musical showcasing the sounds of K-pop is a sign of how “the U.S. is finally catching up with what was already going on around the world,” said Robert Ji-Song Ku, an associate professor of Asian American studies at Binghamton University.

K-pop has been growing in popularity globally for the last 20 years, even though other attempts to break into the American market over the years haven’t met with the same success until recently, he said.

“If there’s a spectrum of universality, K-pop is engineered to be as universal as possible,” he said.

Casting the show took about two years, Kim said, with open calls both in the U.S. and South Korea. Some of those in the show have K-pop backgrounds, including Luna, a former member of the group f(x), who plays the central character of MwE, a singer who has spent years working toward her dreams and has come to a crossroads.

It’s a step forward for Asian American representation on Broadway, which matters a great deal to Kim.

“That talent exists, and they just need a platform,” he said. “So it was really important to me to put these Asian people on stage and see them not playing the typical roles that they play, but playing rock stars, playing pop stars, dancing their faces off and acting their faces off and just being spectacular.”

For her part, Park called the experience an honor.

“K-pop and Broadway have both been my passion for a long time; K-pop has been like comfort food for me, and Broadway was my seemingly unattainable dream, given there haven’t been many Asian composers, let alone Asian female composers that I can see and dream to be like,” she said in an email. “To be able to bring something that feels like home to me, to my dream stage, Broadway, feels like the most miraculous gift that I’ll cherish for a lifetime.”

Kim said it was also important that the show includes some Korean interspersed among the English, both in the songs and the dialogue.

It’s “a way to be really authentic to the experience of K-pop idols and Korean people,” Kim said, pointing out that “when I speak to my mom, I’m switching back and forth all the time, depending on what we’re talking about.”

“The design of the bilingual nature of the show was very intentional.”

Clearly, a musical built around K-pop has a built-in base of potential audience members. But Kim says there’s something for everyone, even those who have never heard a K-pop tune.

“Hopefully if we do our jobs right, you’re watching a fun musical with a bunch of great K-pop songs,” he said. “But really what you’re getting as you leave the theater is a universal story.”

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Hajela is a member of the AP’s team covering race and ethnicity. She’s on Twitter at twitter.com/dhajela





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Weyes Blood is the voice of her generation, Nickelback sound heinous – the week’s albums


Weyes Blood, And in the Darkness, Hearts Aglow ★★★★★

Natalie Mering, who goes by the name Weyes Blood, laments that “we have all become strangers, even to ourselves” on the opening track of her beautiful new album, And in the Darkness, Hearts Aglow – a woozy daydream from a hauntingly romantic balladeer whose music offers comfort to the loneliest souls.

At 34, with songs about solitude, the natural world, the power and fragility of women and how technology has shaped modern romance, Mering become a critical darling with a cult following. Sitting somewhere between Joan Baez’s 70s social justice-fuelled folk and Olivia Newton-John’s hyper-feminine 80s pop, Mering’s exquisite, timeless voice and hymnal harmonies hold a nostalgic appeal that unites the Spotify generation and their parents alike. She describes herself as a “nostalgic futurist”.

Mering grew up within a staunchly Pentecostal Christian family in Santa Monica and began making music as a teen – adopting the moniker Wise Blood in reference to Flannery O’Connor’s 1952 collection of stories. She may not have observed the strict morality of her God-fearing parents, both musicians, but her voice and compositions pay homage to the songs she heard in childhood: gospel and hymnal paeans.

Since then, Mering’s compositions have leaned into glorious baroque madrigals, tenderly layering melodies and harmonies as if she were adorning a human body with pearls, coats and scarves.

In the Darkness, Heart Aglow is Mering’s fifth album, and the second in a trilogy dedicated to the fallout from climate change (beginning with 2019 album Titanic Rising). Her lyrics pine for the natural world, with Mering believing that our collective destruction of forests, land and sources of water have fostered division and alienation. Titanic Rising was met with rave reviews, but this record – which spans steely indie-rock and strummed country ballads – might just be her magnum opus.

On the epic, multi-layered harmonies of Children of the Empire, she reimagines a Beach Boys/Shangri Las doo-wop fantasy that is gorgeous when it could have so easily become overwrought. The luscious orchestral compositions (tuba, sax, organ, multiple violins and cellos), riddled with brief interludes of manic keyboards, stormy strings and thundering piano chords, build empires and shatter them within minutes.

Titanic Rising addressed the transient beauty of nature, doomed to human sabotage. It troubles her still, and there is an existential fear and surrender within her lyrics, clear on the ambient beauty of God Turn Me Into a Flower, which puts Mering’s angelic voice under the spotlight.

The song examines how our desire to appear as the flawless creature we curate on social media fights a higher power. What if, in our imperfect present, we are exactly as God intended us? “You see the reflection/ And you want it more than the truth/ You yearn to be that dream you could never get to,” Mering sings. “Cause the person on the other side has always just been you/ Oh, God, turn me into a flower”. Like our planet, this album is a rare thing of wonder. Cat Woods



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How white noise took over the music industry – and put musicians out of pocket


It’s the fuzz of a TV tuned to the wrong channel; aural static, flat and monotonous, with no peaks or falls to puncture the sound. Welcome to the white noise machine – where algorithmically-created tracks designed to sound like nothingness have become streaming platforms’ biggest moneymaker. Downloaded by the near-billion – “Clean White Noise – Loopable with no fade” has been played 847m times, worth around $2.5m in royalties – chart success is now more likely for computer programmers than pop stars.

The tracks are “not super complicated to create,” admits Nick Schwab, CEO of Sleep Jar, which supplies ambient sounds to over 6m people each month. “They’re very easy, if you have the right software.” Primarily sought out by those trying to block out background sound while sleeping, or looking to focus during the day, the market is ballooning: the most popular ‘artists’ can reach hundreds of thousands or even millions of views daily, easily earning revenue over $1m each year.

Sleep Jar works primarily through Amazon’s Alexa, connected to Amazon’s smart home devices, offering noises white (“like TV static”), the growingly popular brown (“more bassy”) and pink (“kind of inbetween”). Schwab “accidentally created this business” after being lumped with a noisy neighbour six years ago, and began using a startup development kit to customise his Echo Dot smart device to play ambient sound. He published the results of his experiment online in 2016, and Sleep Jar became a hit; just the thing, seemingly, for our loud, distracted times.

The service now offers over 102 tracks, from multi-frequency static to crackling fireplaces, fans and babbling brooks. “We spend a lot of time mastering our sounds,” Schwab says. Making downloadable ambient noise is a two-part formula: the first objective is “making sure that the looping is seamless, or as seamless as we can make it” – that is to say that the point at which the track repeats appears imperceptible. The second is “making sure that our volume levels are consistent across all the sounds we offer; it’s super important.” And that’s pretty much that; there are no star producers that industry insiders are fighting over themselves to work with (“I wouldn’t say there’s one composer of white noise who really stands out”), or impromptu jam sessions seeking to hash out ambient magic.

Perhaps a lack of star power goes with the territory – standing out is the opposite of white noise’s modus operandi. Musical development is also not part of the plan: the goal here is for the ambient tracks of today “to remain a constant,” Schwab says, rather than trying to push genre boundaries. They vary so little, in fact, that one’s hearing is the only thing setting them apart; lower frequency sounds become more appealing as we age, as the higher register becomes out of reach. If we all had the same hearing ability, there could effectively be one white noise track for all, Schwab says, so indistinct are each from the other.



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