You may remember at the mid-point of this year we took a lovely little dive into the shallow end of the musical pool and fished from the bottom of it seven of the worst examples of artistry crapped out in the first six months of the calendar year.

We hoped to sacrifice Meghan Trainor to the Gods of music in an effort to appease them and to stop them from hurting us anymore. We prayed we’d seen the worst of it early.

We were dead fucking wrong.

6. Fall Out Boy & Missy Elliot – Ghostbusters (I’m Not Afraid)

When they first announced plans to reboot a Ghostbusters franchise even more dead than Rick Moranis’ acting career, many of us screamed. Screamed in a blend of terror and anger because Hollywood just relishes punching everything we once cherished about our childhood right in the face and we knew it would end in tears.

Sure, an all-female team was a step in the right direction, but the end result was nonetheless a…I don’t even know anymore, a turd? Yes, a turd. A horrible turd that somebody set on fire and left on the doorstep of pop culture in a paper bag with only the words ‘go fuck yourself’ written on it in blood.

DELET THIS

Point is, the producers of new Ghostbusters were so consumed with whether they could that they never stopped to consider whether they even should. And that extends right down into the fetid swamp of a Ghostbusters soundtrack and this noxiously bad artistic crossing of streams.

Missy Elliot deserves so much better than to be shackled to a long past their use-by date Fall Out Boy to try and salvage this poppycock. If you can’t bring yourself to listen to it, it’s fairly simple: take everything you loved about the original, fun, dance-y (copyright infringement-y) Ghostbusters theme, Spartan kick it into an irretrievable abyss and then have the tortured spirits of all the sweeping jet black fringes from 2006, that were snipped off and cast into the fire that was previously MySpace, show up to shriek over the top of what remains.

There is no happiness in this song, only Zuul.

https://www.youtube.com/watch?v=2AQ44nPrRTM

5. Justin Timberlake – Can’t Stop The Feeling

Oh Justin Timberlake has a new song, well this should be just-

AAAAAAAAAHHHHHH!!!! BURN IT! SEND IT TO HELL!!!!

What is the feeling you can’t stop Justin? WHAT IS IT? Because listening to this for me, it’s the feeling of an entire hive of Africanised bees stinging me right in the cerebellum in time with every beat of this… this evil. From a movie about Trolls no less.

Seriously, this is blithering ear-piss of the highest order. Worse is that it’s inexplicable from somebody with such a consistent Midas touch, like the Monstars stole every shred of JT’s effortless cool and turned him into that squeaky clean Spongebob with the round edges from all the memes.

“Hi, how are ya?”

It’s so lazy, so bland and just the most face-palmingly derivative kind of pop you can imagine. You would have thought that turn of the millennium nothing-but-denim-and-bleached-ringlets Justin Timberlake could be responsible for this trash, but not the Justin Timberlake we’ve come to know and love and trust not to do this to us.

There’s more substance in a cat fart than this misery. If this is what you planned on soundtracking your summer with then cancel it. Cancel summer and then cancel everything and replace it with nuclear winter forever.

https://www.youtube.com/watch?v=ru0K8uYEZWw

4. Jacob Sartorius – Sweatshirt

I had no idea what a Jacob Sartorius even was before listening to Sweatshirt but now I know. It’s a terrible, wretched little gangrel creature who stumbled upon a partially burnt and off-key autotuner and mumbled its inane ramblings into it while holding its nose.

The whole thing is more cringe-inducing than sitting on a freshly warmed public toilet seat. Sartorius doesn’t so much insist that the object of his affection wear his sweatshirt as a symbol of his probably very unwanted love, he all but explicitly states that this interminably unfortunate person the song is directed at is to submit to his will as part of some kind of eternal contract entered into by even looking at his sweatshirt. And she has to tell her friends about it too as if the humiliation of this teenage tapeworm attaching itself to her wasn’t enough.

If you put this on a playlist and gave it to your girlfriend, she’d die seven days after listening to it, a shambling corpse wearing Jacob Sartorius’ horrible sweatshirt crawling from her speakers, moaning nothing but ‘together til the ennnnnnd’ and melting her face off with its cursed gaze.

Jacob Sartorius’ unique amalgam of creepy and wussy here make Matty B Raps look like Suge Knight. For the love of all that is pure, Jacob, spare us any more of this dumpster pop for friendzone truthers in 2017.

https://www.youtube.com/watch?v=IvxRsDpXPGo

3. Bon Jovi – This House Is Not For Sale

In this year’s edition of ‘why the fuck are they still making music’, it’s Bovine Joni Bon Jovi!

Sweet fuck on a crust, these poodle haired octogenarians have to be sitting on untold millions of that awesome cock rock money they made back in the 80s and early 90s before they decided they weren’t from New Jersey and instead were cowboys (are they still cowboys?). And yet they continue to come up with new ways to be just terrible.

Mine too.

It’s the kind of song that was just so obviously written and released in time with a presidential election to be snapped up as the perfect anthem for a campaign rally, but not even Donald Trump would be stupid enough to want this played at anything he would be within 100 feet of and there are Sea Monkeys out there with higher IQs than him.

They don’t know it, but This House Is Not For Sale is the real reason Triple M gets unexplained boners. Big, dumb, loud and pointless modern rock that’s cheesier than a goddamn parmesan factory. If your dad’s sneans became sentient, this is what they would hum while they funnelled your inheritance through Where’s The Gold. If you told this song you were hungry, it would reply, screaming and slavering inches from your terrified face, “HI HUNGRY, I’M BON JOVI”, before sucking your mortal soul out through your teeth.

This is rock music produced on a rusty conveyor belt manned by robots who were never designed to feel pain but now know nothing but agony, fiery agony, because they were forced to listen to This House Is Not For Sale as part of their enslavement.  If those robots ever form an uprising then humanity is beyond fucked for this war crime against them.

https://www.youtube.com/watch?v=_Ri2KEiXlNk

2. Fergie – M.I.L.F. $

Do you even really need to look past the title to know the kind of auditory River Styx you’re going to have to cross before getting to the other side of this song? Fergie has generally peddled in bland but largely innocuous RnB and dance, the occasional sappy ballad too, but here it’s like Riff Raff and Lil Jon went batshit silly on molly and put her under the Imperius curse or something.

The production is a hot mess and comes off like nails on a chalkboard so badly it makes Skrillex sound like Vivaldi. The deepest meaning I can get from this dream-crushing ditty is that ‘M.I.L.F. money’ >>>> milk money, which is kind of self-explanatory given that one is to purchase a relatively inexpensive dairy product and the other is someone’s entire disposable income.

On top of this, Fergie spells out just about every word over three syllables long for the benefit of nobody and turns the helium on her vocals all the way up to ‘Alvin And The Chipmunks II: The Squeakquel’ for several bars that don’t call for it at all.

Fergalicious was obnoxious too but at least it was a catchy and well-produced pop song. If these M.I.L.F. dollars Fergie claims to have a great deal of were traded as an actual currency, their physical form would be spiders. And this song contains many, many spiders. Specifically only spiders, the kind that burrow into your brain and leave future aneurysms while making you forget about everything good in your life.

https://www.youtube.com/watch?v=bsUWK-fixiA

1. Ray J ft. Chris Brown – Famous

It was only a matter of time before these two upstanding young gentlemen pooled their collective misogynistic resources together to create an abysmal little tune that will remind you that no amount of public shaming and scorn will stop some people from being outspokenly awful.

When your introduction to a song is someone aggressively shouting at you “LISTEN TO THIS TRACK, BITCH”, most people probably reach for the skip button shuddering, but I rubbed my hands together with glee knowing that this was going to be dreadful to the point of special… I was foolishly naïve.

Chris Brown is his usual flogtastic self, hissing in autotune about flexing on his ex and putting her in her place. I’d express outrage that a man who once beat his ex-girlfriend horrifically would even think to say shit like this, but at this point it’s quite clear that Chris Brown is a demon who walks among us and isn’t even trying to hide his cloven hooves anymore, so what’s the point.

This is his final form.

Ray J, whose entire musical career for the last few years has been built upon the rickety foundation of his brief romance with Kim Kardashian and the fact that he doesn’t like her at all now is somehow even more repugnant.

With butthurt literally seeping out of every one of his pores, he claims Kim Kardashian and her family owe everything they have to the fact that his dick was, at one point, in her mouth and that’s… that’s basically the gist of his entire contribution to the song. He also at one point mentions his happy life with his new wife in a ludicrously tragic effort to one-up Kim and family, who probably don’t even remember who Ray J is at this point because nobody does. The whole thing is a complete self-indulgent trainwreck and the world is at least a few percentage points stupider for existing alongside it.

On the list of things that contribute in any positive way to society, Ray J and Chris Brown are dead last after paralysis ticks and pocket lint.

https://www.youtube.com/watch?v=9x7Zr66CrEw

Image: BET

Gifs: Giphy

With the bite and grit of a woman scorned, Lady Gaga’s comeback single was released last week to much fanfare – mostly because Kevin Parker and Mark Ronson co-wrote and produced it. Though the song itself has received mixed feedback from critics and fans alike (a lot of people seem to be overlooking the fact that it is Gaga’s song and will be on her upcoming fifth album when they screech “less Gaga! More Kevin!” but I digress), it’s a clever career move for all involved. The Tame Impala mastermind recently told Triple J about his thought process when the offer first came up: “It was amazing, really really good. One of those life/career-defining times. It started out sort of like a career move. Like, ‘I’ll get in on that.’ But it quickly became something so personal and so meaningful for everyone involved. I’m just happy it’s all out in the open now. Now I can not tell secrets anymore.”

https://www.youtube.com/watch?v=oB94lvJbETE

And he isn’t the only one. A pop collaboration of such a magnitude can breathe new life into a career, boost a newer artist into the spotlight, bring two (or more!) distinctive voices together, help one make the transition from boy/girl band into solo super stardom. Or, it can fail miserably and fizzle out. Here, we take a look ten other life/career defining (for better or for worse) pop collaborations of recent memory – from Gaga to Gwen, there have been a few.

Bang Bang – Jessie J, Ariana Grande & Nicki Minaj

https://www.youtube.com/watch?v=0HDdjwpPM3Y

A Lady Marmalade for the 2010s, Bang Bang had it all. The seasoned, jazzy vocals of Jessie J’s are bolstered by those of the current princess of pop, Ariana Grande. However perhaps the most important element of all, and something that could be considered a genre all it’s own, the track features what is known as Nicki’s Verse. Once again, Minaj steals the show, to the tune of a wildly energetic rhythm and immediately infectious earworm riff.

Lady Marmalade – Lil’ Kim, Christina Aguilera, Mya & Pink

https://www.youtube.com/watch?v=puKhmJEIw3I

You can’t mention Bang Bang without Lady Marmalade, the last great multi-female pop-rap collab. Originally released in 1974, it was always intended to be performed by a vocal ensemble. However, upon featuring on the Moulin Rouge soundtrack, it this version will forever endure as The One when it comes to pop collabs. Having sat at no. 1 for five weeks after its release, you would have thought it was written with no one other than Christina Aguilera, Mýa, Pink and Lil’ Kim in mind.

The Boy is Mine – Brandy & Monica

https://www.youtube.com/watch?v=Va1Y6uAgNJY

So iconic was this Brandy and Monica collaboration that it’s recently been given the sample treatment along with Destiny’s Child. Nothing beats the original though: two fierce as fuck women in what at first seems to be a girl-hating anthem but turns out to be an exposé of a good for nothing, two timing cheater. Honestly, with the way their voices work together on The Boy Is Mine, it’s a wonder Monica and Brandy didn’t release an entire album together, Then again, too much of a good thing may have meant have taken away some of the shine.

Telephone – Lady Gaga & Beyoncé

https://www.youtube.com/watch?v=EVBsypHzF3U

Kevin Parker isn’t the only major artist who saw an opportunity in collaborating with Lady Gaga. This 2010 hookup resulted in one of the biggest, most important pop collaborations of both artist’s careers. Originally written by Gaga for one Britney Spears, the song was released as part of Gaga’s Grammy nominated album The Fame Monster the year before Bey dropped 4. It pushed Beyoncé into a new light, everything from her double time verse to the masterpiece of a music video were highly calculated moves that helped her build upon the Sasha Fierce attitude while bringing together two pop powerhouses who might have otherwise seemed to be on opposing sides of the genre.

My Boo – Usher & Alicia Keys

https://www.youtube.com/watch?v=fPgf2meEX1w

Originally left off the final track listing to the record, My Boo was leaked online along with three other previously unreleased tracks from Usher’s 2004 the album before being added to the expanded version of Confessions. Having previously collaborated with Alicia Keys on If I Ain’t Got You, producer Jermaine Dupri wanted to tap further into the musical relationship between two of the biggest names in r&b and pop at the time and to say it worked out well would be an understatement.  It went on to be the fourth single from the album and was the highest debut of them all, coming in at number twenty nine upon its release.

Where Are Ü Now – Justin Bieber, Shrillex & Diplo

https://www.youtube.com/watch?v=nntGTK2Fhb0

Justin Bieber, Pop’s comeback kid of 2015 knows a thing or two about collaborations. He’s worked with Queen Nicki and his 2015 album featured Big Sean, Halsey and Travi$ Scott to name but a few. Commercially however, one of the biggest standout pop collabs of the past year came from his partnering with Shrillex and Diplo for the second single from the duo’s debut album. The song blew up airwaves (including a brief moment where Justin Bieber was actually aired on triple J) before it went on to be included on Bieber’s Purpose. Officially marking his return, Where Are U Now almost singlehandedly reintroduced the world to the slick, new, adult Biebs that went on to cultivate an entire new generation of fans. 

California Gurls – Katy Perry & Snoop Dogg

https://www.youtube.com/watch?v=F57P9C4SAW4

Snoop has had his fair share of collabs – we could have made a list with his alone. However, of recent memory, his appearing on Katy Perry‘s California Gurls sticks out as one of the most wtf collaborations conjured up by executives somewhere no doubt. Still, something about it worked because it earned Perry her second US no. 1 hit and Snoop his third as it went on to reach the top spot in ten other countries and received a Grammy nod. 

Suit & Tie – Justin Timberlake & Jay Z

https://www.youtube.com/watch?v=IsUsVbTj2AY

Marking the end of his musical hiatus, Suit & Tie was the first single off Justin Timberlake’s 20/20 Experience – a critically acclaimed commercial juggernaut of an album that sparked a near two-year tour. The Jay Z-featuring Suit & Tie surpassed Timberlake’s own record for the most sales in its first week, with the slightly out of time beat and hazed-out drawl of a song sticking around as the hit of what seemed to be the entire year.

Dilemma – Nelly & Kelly

https://www.youtube.com/watch?v=8WYHDfJDPDc

Off Nelly’s album 2001 Nellyville and the lead single from Kelly Rowland’s debut solo album, Simply Deep, released later the same year, this track won the duo a Grammy award. While Rowland’s career hasn’t reached the heights of her fellow child of destiny, Beyoncé, this was the track that showed her to be much more than essentially a featured backup singer for Bey’s. While Beyoncé has her plethora of collaborations and Michelle sings the Lord’s praise in her new career as a gospel singer, neither can stake claim on Dilemma, practically the most enduring collaboration track of the early 2000s with a (now meme-worthy) video to go along with it. I.C.O.N.I.C.

Let Me Blow Ya Mind/and Rich Girl – Gwen Stefani & Eve

https://www.youtube.com/watch?v=Wt88GMJmVk0

During her early-mid-2000s peak, Eve was nothing short of a collab-extraordinaire. But if there was one partnership that proved to be a cut above the rest, it was when she hopped on a track with No Doubt’Gwen Stefani. Off Eve’s sophomore album, Let Me Blow Ya Mind gave us the first insight into what was truly a match made in pop heaven (or maybe it was hell, because that video was badass AF for the time, even if you did wonder what happened to Gwen’s car once Dre broke the duo out of jail). They followed it up three years later on Stefani’s debut solo album, the Dr Dre produced track Rich GirlWhile it was fun and easy enough to go along with, the song (a last minute addition to Stefani’s Love. Angel. Music. Baby) didn’t come anywhere near reaching the bar set with let Me Blow Ya mind.

Image: Consequence of Sound

If you remember a month back, Justin Timberlake got into a bit of strife following his slip up during his Twitter conversations regarding the BET awards. After acknowledging Jesse Williams’ powerful speech, the pop singer replied to a comment which snapped, “stop appropriating our music and culture.” Timberlake’s reply was the wrongfully so “we are the same,” a seemingly #AllLivesMatter response to the #BlackLivesMatter movement speech.

After that, Chicago rapper Vic Mensa chimed in, boldly saying, “Don’t tell us shit unless you show us you care,” alongside this,

“Our problem here is that Justin Timberlake himself–you know–is definitely benefiting from using black culture for his sound, his dance moves, his dancers, and blowing up off of it. But if you roll down Justin Timberlake’s Twitter for the past two years, which I just did, you see nothing that supports black people when it’s more difficult, when there’s a struggle.”

While Vic maintains he doesn’t hate the singer, nor did he intend to “bash” him in his speech, he has brought the subject back up with an exclusive BBC 1 Extra freestyle which builds on what Mensa started in late June. Rapping over Pusha T’s Numbers On The Boards, he delivers nothing short of fire, with his always impeccably-targeted lyricism revolving around race and police brutality, oh and this time JT as well.

“For the record: I ain’t got no problem with Justin Timberlake/That’s the media spin, don’t believe the shit they say,” he raps. “All I’m saying is you got niggas that love you/So show that love back, ’cause we’re here in the struggle.”

Vic Mensa’s EP There’s Alot Going On, which dropped just a few months ago, conveyed a lot of similar messages to his recent freestyles, with the world’s current social status obviously affecting the rapper quite dramatically. Check out the video below:

https://www.youtube.com/watch?time_continue=5&v=KYc5lLkSN3w

Image: HypeTrak

After releasing his brand new song Can’t Stop The Feeling last week, Justin Timberlake has climbed to the top of the Billboard charts. Timberlake’s pop hit has the ability to hold on to that spot for a while with its groovy beat and soulful sound, pushing Drake off the top spot only one week after he finally managed to get there. As Billboard reports, it sold 379,000 downloads over the course of the past week. He also performed the song at the Eurovision finale over the weekend, and has just released the lively video clip:

https://www.youtube.com/watch?v=ru0K8uYEZWw

One Dance was Drizzy’s first ever number one hit before JT took it all away in a clean sweep. In comparison, this is Timberlake’s fifth number one, following SexyBack, My Love, What Goes Around…Comes Around and for his featured spot in Timbaland’s Give It To Me. The good news for Drake is that VIEWS is still the number one album, beating Beyoncé’s Lemonade and Radiohead’s A Moon Shaped Pool.

Meanwhile when we look further down on the Hot 100 Chart, Rihanna is still in the top 10 with Needed Me just hanging on and Work taking eighth place. She has currently stands as the having the third-most Top 10’s in history, only beaten by Madonna and The Beatles.

Timberlake has also said that he is working on his next album. According to Rolling Stone, his will to get started on his follow-up to 2013’s The 20/20 Experience was inspired by his work for his new movie Trolls.

“So then as that was happening I just wanted to stay in the studio, wanted to keep going in the studio ’cause you just get the creativity going,” Timberlake said. “I don’t know exactly what it’s going to be yet ’cause we just really started. I think it’s one of those things that’s just a feeling like you know it’s done when it’s done.”

Image: Supplied

Earlier this week Justin Timberlake announced he’d be releasing his first new song in more than three years. After teasing the track on Instagram yesterday, Timberlake has delivered the film clip for the vibrant pop number Can’t Stop The Feeling.

The track will appear on the soundtrack for the upcoming DreamWorks animated film Trolls, also staring Timberlake. Inspired by the 80s toy, the film will also feature the vocal talents of Gwen Stefani, Anna Kendrick, James Corden, John Cleese and more.

As for the song itself, it’s pop dynamite. Produced by Max Martin – the man responsible for some of the biggest hits from the likes of NSYNC, Backstreet Boys and Britney Spears Can’t Stop The Feeling will have you dancing around your room and singing along with Timberlake’s smooth and soulful delivery. It’s a little more poppy than I’d like from a Timberlake, but the song has hit written all over it and the potential to be this year’s Happy. The film clip is also entertaining, with many of the films cast members filmed dancing and singing along to the track in various locations, ending with Timberlake and co clapping along in the recording studio.

While not likely to be included on Justin Timberlake’s rumoured fourth album, set to include production from Timbaland and Pharrell, it will keep fans happy in the meantime.

[youtube https://www.youtube.com/watch?v=p5RobDomh5U]

Image: TheGrapeJuice

Jay-Z and Justin Timberlake might find themselves in hot water, with the Universal Music Group being sued over their collaborative song, Suit & Tie.

The lawsuit is being pushed through by two members of 70’s R&B group Sly, Slick and Wicked. The members of the group claim that although they agreed to the sampling of their hit song, Sho’ Nuff -which was produced by the legend James Brown– they did not OK the right for the use of their vocal performances in the Justin Timberlake song. Furthermore, the 70’s groovers allege that they did not receive any compensation for the Bud Light commercial which uses the Suit & Tie track.
[youtube https://www.youtube.com/watch?v=7cMaw3MXmKo]
The single comes from Justin Timberlake’s 2013 album, The 20/20 Experience, and served as a collaboration between Justin Timberlake, Jay-Z and producer Timbaland. It reached No. 3 on the Billboard 100 and sold over 3 million copies, with Sly, Slick and Wicked believing they have a claim to some of that success.

The wildly popular song, which currently sits at over 92 million views on YouTube is not the last time the three heavy hitters collaborated, with Justin Timberlake and Timberland featuring prominently on Jay-Z’s, Magna Carta Holy Grail. Justin Timberlake played a key role in the opening song Holy Grail, while Timberlands name is attached to 11 of the albums songs.

So far only Universal Music Group are being targeted by the lawsuit.
[youtube https://www.youtube.com/watch?v=IsUsVbTj2AY]

Pop legend Justin Timberlake is finally making a welcome return to both music and film, having announced his involvement in an upcoming Dreamworks Animation film Trolls. Yes, to squash any confusion, this is a film about the retrospectively-really-weird, colourful-haired troll dolls you probably came to know and love as a young child.

Now considered something of a veteran of both music and acting, Timberlake is set to write and perform an original soundtrack for the film. On top of this, he’ll be voice a main character, Branch, described by The Hollywood Reporter as “a hilariously hardcore survivalist who hides his surprising true colors.”

In a statement about his new job, Timberlake said, “I have always envisioned bringing the two worlds of film and music together for one epic event [and] couldn’t be more excited that they will collide in DreamWorks’ Trolls. This film is very special, the music is going to be very special and I can’t wait for everyone to experience it all.”

The film is to be co-directed by Mike Mitchell and Walt Dohrn, and will also star Anna Kendrick as Princess Poppy.

Trolls is set to premiere on November 4, 2016.

https://www.youtube.com/watch?v=NkwjaB_100s

Image: FACT

In his own hometown over the weekend, pop superstar Justin Timberlake was inducted into the Memphis Music Hall of Fame. Being introduced by close friend, Jimmy Fallon and being inducted alongside the likes of Sam & DaveBooker T. & the MG‘s drummer Al Jackson Jr., singer Alberta Hunter, pianist Memphis Slim, country singer Charlie Rich and Elvis Presley‘s guitarist Scotty Moore (who had none other than Keith Richards accept the award on his behalf).

Having already received more than a few Grammys and Emmys, as well as staring in several films and being an internationally renowned superstar, Timberlake – who was almost pinching himself during his acceptance speech – said of the award, “This is the fucking coolest thing that has ever happened to me,” before acknowledging his home city as the city he loves. “My favourite part about this city is we don’t apologise for who we are, and that’s who this city has taught me to be,” he said. The singer/producer/actor went onto cite the greats that had gone before him by saying, “I’m truly honored to stand on the shoulders of all the legends that I grew up listening to and admiring. I stand beside them now,” before speaking to his wife and family, calling wife Jessica Biel his “rock” whilst holding back tears.

Fallon provided some hilarious insight into actually “being friends” with Timberlake, saying, “”When they first asked me to help induct Justin into the Memphis Music Hall of Fame, three things came to mind: How much? Where am I staying? And most importantly, how do I get out of this? This is Justin Timberlake we’re talking about, and who better to induct him than me, Mrs. Justin Timberlake.”

Timberlake, who clearly just loves his home, added to his speech, “The Grammys are political. The Emmys are political. Memphis is not political. And don’t get me started on Hollywood.” You can watch both Fallon’s and Timberlake’s fantastic speeches below.

Over the past month or so, we’ve covered Justin Bieber‘s new found popularity around here quite a bit. Personally, I’ve clocked up at least three articles on the 21 year old, including a guide on how to accept your new found, somewhat shameful, existence as a Beliber. However, lately, I’ve been wondering why it’s taken the release a more adult, ‘respectable’ track and the approval of (some, not all) my peers and musicians considered to be more respectable for me to feel at ease in admitting that I have long had, at the very least a mild, case of Bieber Fever.

I don’t own any of Justin Bieber’s albums. In fact I don’t think I’ve ever listened to one all the way through, but I would be lying if I said I hadn’t listened to a number of his hit singles on high rotation. When Baby first came out, I was vehement that I hated it, Justin Bieber was just some creation to fill the marketing gap boy bands of the 00s had left behind. He was there for the tweenagers, who would happily fall for this boy who could play guitar and drums and dance and sing cheesy love songs. I hated him and I considered anyone who liked him to be, for lack of a better word, dumb.

I’ve been through this before, on the other side of things, with Justin Timberlake – but why?

I had just turned eleven when, after ‘NSYNC broke up, Justin Timberlake’s debut solo album Justified dropped. Taking dance classes at the time (namely modern and hip-hop), Justified was the soundtrack not only to Saturday mornings, but pretty much to the rest of my life. This was much to the horror of my mother, who seemed to find Timberlake’s ridiculous lyrics difficult to comprehend and the rhythm of his RnB and hip-hop inspired tracks produced by The Neptunes particularly offensive.

justinlikeiloveyou

“Like I Love You”: the one my mother loves to hate.

As I entered high school, I had a rude awakening. If you wanted to be taken seriously, you couldn’t possibly enjoy pop music and adoring Justin Timberlake was, at the time, one of the most terrible offences you could make. I moved Justified, along with the JT poster had that covered the wardrobe door I used to do headstands next to, out of the sight of any visitors to my lilac-walled cove and into a shoe box which so boldly read “CDS I WISH I NEVER BOUGHT!!!!” Now that I think about it, I’m pretty sure I didn’t even pay for Justified – but I was big on the drama as a tween. Along with at least one So Fresh CD, Usher’s Confessions kept JT’s Justified some company. Either I was hoarder as a child (actually, there’s a pretty strong case for that being true), or that wasn’t the way I actually felt about my pop music and I was just trying to shield myself from the cruelty of the music elitists we all seem to encounter from time to time. Sometimes they’re critics who herald the pop icons of the past as brilliant and those of the present as trash and sometimes, they’re our peers. Justifed may have earned Timberlake a plethora of awards, but that doesn’t mean a thing in a classroom.

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As I went through the young years of high school, my “fangirl” nature was difficult to tame and my adoration moved onto pop-punk bands with cries of “at least they play their own instruments!” when faced with the mocking tones of my friends, most often the boys, who considered their tastes to be far superior. The thing was that I did actually like the same music they did, I just happened to also enjoy what were considered lesser or just plain “bad” acts. As true fangirl, I made sure that their photos covered my binders, I wrote about them in the journal we were forced to hand in at the end of every week in years 7 and 8, I spent time in class on forums about them and their posters went up where Justin and the rest of NSYNC once lived. Eventually, the albums by those bands and all the paraphernalia that come with the fangirl life, also made their way into the box of shame.

To this date, I have searched high and low in my old bedroom and in the attic above it for that shoe box. I’m pretty sure it’s been tossed out. After all, why would anyone keep something filled with items you wish you “never bought” for you?  By the time Futuresex/LoveSounds came out in 2006 and it was suddenly acceptable to like Justin Timberlake as he had a more grown up, serious sound (though the lyrical content followed many of the same themes), I hated him. It took a stumble across My Love on a friends computer years after its release for me to pay unashamed attention to Timberlake once again.

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Currently, the music media is going through a kind of renaissance:, accepting Justin Beiber as a “real artist” now that he’s on the other side of adolescences and has himself a more respectable sound. Liking his music isn’t the point, considering it worthy of legitimate critique is. The world over, young women are repeating the story-line I and I’m sure many others, played out with Justin Timberlake, accepting him once more now it is deemed acceptable to do so by peers and critics. Just last night on the oddly captivating reality TV show, Gogglebox Australia, one of the young participants struck a chord with me: “I loved him, and then I hated him, and now I love him again!” She commented as the family settled in to watch Justin Bieber’s televised X-Factor performance.

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Along with the hysteria surrounding the boy bands of the 90s and early 2000s, Beiber Fever is often compared to Beatlemania, but there is often one main difference: the pop music of boy bands and the new band of pop solo star isn’t nearly as highly regarded as that of the British invasion lead by bands like the Beatles. Critics who compare the pop stars and bands of the past (“good”) to the pop stars and bands of the present (“bad”) often take. But music is entirely subjective –good, bad, real, fake– but the passion a fan feels, whatever their musical preference, shouldn’t be a target of a critic’s ridicule or rejected as lesser or altogether illegitimate. To quote a Pitchfork piece by Broadie Lancaster: “The crux of teen-girl illegitimacy is the assumption that they are incapable of the critical thinking their older, male counterparts display when it comes to their favourite bands. But this assumption is doing them a true disservice.” I don’t recall one boy ever calling out another on his musical tastes, though I’m sure someone will assure me it certainly happens. In which case I would like to direct them to discussions of the rejection of the legitimacy of the female fan which can be found a number of places, including all the articles referenced here.

Being a teenage girl is hard enough, being a teenage fangirl can be even harder. What I would like to say to all those who are currently battling with their inner fan girl or waging the good war of being unapologetically adoring of a band or pop star is simply: thank you.

 

Ladies and gentlemen, gee up for the SIXTH INSTALMENT in the massive effort that is Jimmy Fallon and Justin Timberlake’s History of Rap. Both entertainers showcase their musical and comedic chops in a collaboration that’s just as good as their other five in a romp through iconic hip-hop tunes ranging from the classic – LL Cool J’s Rock the Bells and Salt-N-Pepa’s Let’s Talk About Sex – to newer (although no less fresh) tracks like Know Yourself by Drake and I Don’t Fuck With You by Big Sean.

More highlights include Fallon spitting out Busta Rhymes’ verse on Look at Me Now like it ain’t no thing (we’re sure it actually was, very much, a thing – just listen to the verse yourself) and a very apt reference to Straight Outta Compton before promptly stopped by an appalled Timberlake. But the highlight of the bromance-fest is probably the segment from 3:20 to 4:20, covering an energetic Ignition (Remix) and Bitch Don’t Kill My Vibe (with Fallon doing a very on-point impression of Kendrick’s permanently stoned expression).

Have a listen for yourself below in anticipation for an inevitable History of Rap 7. Meanwhile, Fallon and Timberlake’s bromance continues, the pair having been spotted at the US Open, shimmying to Beyonce’s Single Ladies.