The Worst Lyrics of 2013

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The following is a guest article by Jason Kane.

Lyrics Thumbdown

2013 is coming to a close, which makes many look back on what an astounding year it has been. Great Britain welcomed a new prince, the Catholic Church welcomed a new Pope, and the world said goodbye to Nelson Mandela and Margaret Thatcher.

Pop culture had its share of highs and lows as well. From Miley Cyrus twerking on stage to the sad loss of Cory Monteith, it was a year we will never forget. Likewise, the year introduced song lyrics that will haunt us forever.

Worst Pop Lyrics

It's My Party - Jessie J

"Don't you get tired of being rude. / Aw, come on and give me a hug, dude."

The catchy pop song, "It's My Party," features a number of cringe-worthy lyrics, with the most egregious example appearing in the first verse. It's no "Tomorrow is Saturday and Sunday comes after," but it is close.

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Full disclosure: I'm already a big Beyoncé fan. Waking up last Friday to see that Beyoncé had released a new album felt a little bit like an early Christmas gift. No promotion, no warning; Bey had basically put the album in my stocking with a wink and a nod. At that, I'd have been pleased even if the album was just okay.

But it's not. It's better than okay; it's pretty incredible. I wanted to give it some time before I tried to review it because I knew I was riding so high off of the shock element... and the fact that her new album was finally here. But even after the surprise elements fade away, I haven't been able to turn this record off. The only other albums this year that have been like that for me have been Janelle Monae's The Electric Lady and Jay Z's Magna Carta... Holy Grail — so Bey is in good company.

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Lady Gaga’s ARTPOP Lacks in Substance, Stacked in Production

The following is a guest article by Sam Lowy.

Lady Gaga image

Lady Gaga has turned herself into one of the most iconic pop stars of our generation. There really is no debating the fact that Gaga is one of the most diverse and entertaining celebrities in the media. Known for her commentary on pop culture and the "fame monster," Lady Gaga has been one of the few celebs to turn the entertainment community on its head. Her past albums, which have all been huge successes, have all had a similar theme regarding such matters, but with her newest release, ARTPOP, has the controversial artist finally beaten the horse dead?

With her debut single of the record, "Applause," Gaga continues her satirical commentary of fame, stating she "live[s] for the applause," and "the way that [we] cheer and scream" for her, and while the song is somewhat catchy, in the end it really just seems to fall flat. Without any truly deep or inspiring lyrics, the listener is left with an instrumental track that is, again, lacking of any real substance. The song is honestly quite weak on all accounts and is just a regurgitation of past Gaga themes of fame and culture.

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The following is a guest article by Sam Lowy.

Album review

Since the release of their smash hit single "Sex On Fire," and Grammy Award winning track "Use Somebody," it seemed as though Nashville based Kings of Leon had been struggling to find another song or album to help them reach the top once again. With their most recent release, however, the family band has done just that.

Mechanical Bull truly is thirteen tracks packed with that true Southern Rock the group was best known for with their first two albums Aha Shake Heartbreak (2004) and Youth and Young Manhood (2003), both of which featured high energy rock and roll that deemed the group "The Strokes of the South."

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Review of Arcade Fire's Reflektor

The following is a guest article by Tyler Thursby.

Arcade Fire

My first introduction to Arcade Fire's Reflektor was through an enchanting self-titled music video, nearly eight minutes of black & white footage that read much like a short film. Cinematic is an appropriate term when describing the sound of Arcade Fire's latest album Reflektor as a whole, every vaulted track materializing a story one has to imagine could easily be adapted to the screen.

Reflektor's cinematic qualities and large sound packs an unshakable confidence behind it. Just when things threaten to spill over into an unmanageable chaos, the instrumentation finds order in the storm. That type of control is something Arcade Fire has worked long to master, but it certainly doesn't hurt to be working with David Bowie throughout the process of recording.

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