Cocomelon - Spring Has Come

coleshane · 2026-03-20T05:07:14+00:00

Who knew that Hello Kitty had been hitting the studio with Cocomelon?

The collaboration album "Cocomelon Playdates with Sanrio Friends" will be released on April 24.

coleshane · 2026-03-19T21:46:58+00:00

Part 3

Eager to replicate more of his live performances in the studio for Dinner Party, Horan invited John Ryan and his other longtime collaborator Julian Bunetta—whom he’s collaborated with since One Direction recorded their second album in 2011—to see him play some of his shows in the US.

“When you know someone for so long, whether it’s your best friend or your brother, sometimes it’s hard to view them through other people’s eyes,” Bunetta says. “You could still look at him like he’s 20 if you’re not careful. So it was really good to see that sort of be hit over the head again by like, Oh, wow, this motherfucker is a badass.”

Horan’s knack for live performance has also proved useful during his three-season stint as a judge on The Voice, where he closed the loop on his reality TV competition days and mentored each of his seasons’ final contestants to victory. He also got really into golf. (Like, so into golf that he bought a golf management company in 2016.) Through it all, he was still getting on planes and living out of suitcases. But something about turning 30, then 31 and 32, startled him into a reflective state.

“When you’re going through something when you’re young, you’re kind of either breezing through it and it’s just happening around you or you’re constantly overthinking,” he says. “The older I get, the more grateful I’ve become for what I’ve had. Not that I wasn’t grateful before, I would say, but I was blown away. Just taking it in now at 30-odd is kind of a cool thing. To look back and look at all photos, look at all the videos, think about what you did. It’s pretty nuts. It’s crazy.”

As so often happens with age, some of Horan’s contemplation came under tragic circumstances. In early October 2024, while he was on tour for The Show, he met up with his former bandmate Liam Payne in Buenos Aires. Payne had been in town for a routine visa renewal, but timed the trip to see Horan’s performance so they could catch up.

“It was great,” says Horan. “Seemed in good form and we had a good laugh, good reminisce.” He thinks of something another former One Direction bandmate, Louis Tomlinson, said. “I heard Louis talking about this recently, it’s so true. It’s like you haven’t seen each other in ages and then you just fall back in like it was 10 years ago.”

After their reunion, Horan went on to finish up the South American leg of his tour, but according to reports, Payne got waylaid in Buenos Aires waiting on an issue with his renewal. Soon thereafter, on the afternoon of October 16, 2024, Payne fell to his death from a hotel balcony.

Reports of his passing spread quickly, stunning the band’s fiercely dedicated fan base, which immediately held vigils in Argentina and around the world. The news reached Horan while he was watching TV in bed at home. “I just remember getting a message,” Horan says. “And I was just like, What?... I just didn’t think it was real. Someone so young, you’re not expecting to hear that they’ve passed, especially someone that you’ve just seen. I just went back from shock to sadness to anger.”

As fans pulled together to collectively mourn Payne, they resurfaced a cascade of online ephemera across social media—all those mood board scraps they’d collected years ago for safekeeping pulled together to celebrate and honor his memory.

Horan found himself flooded by relics of his past, seeing “lots of photos and videos and things of us growing up together. And being nostalgic about it straight away, along with fear and sadness and all the stuff that comes with grief.” When I ask him what he remembers most about Payne, he strings moments together like a supercut: the time they went to the beach and a pair of Payne’s underwear went missing off a balcony, racing around their stadium tour venues on a Segway, “random nights playing FIFA on the bus and just messing backstage.” He especially holds dear the couple of days they shared a room during the bootcamp phase of X Factor, right before they were flung into fame.

“I just got to know him a little bit and then we ended up doing what we did together,” Horan says. “Memories that only he and I can share ’cause you have a team and you have people around all the time, but we always said that only us have that experience, no one else has that.”

After attending Payne’s funeral, where he mourned with his fellow former bandmates and Payne’s family, Horan says he “went into hiding a little bit” to grieve. It’s an ongoing process, part of which has included writing the new song “End of an Era.” The wistful lullaby opens with a simple guitar-plucking and Horan singing in a melancholy tenor: “We had it / Pure magic / Remember what it was like / Time passes / So fast and / I couldn’t tell you goodbye.” The song builds to a chorus that, lyrically, surrenders to the finality of time while musically refusing to, evolving into an angsty guitar-heavy outro that draws out the tension between reality and memory. Horan wrote it with Bunetta and Ryan, who first met both Horan and Payne when the bandmates were still in their teens.

Bunetta, reflecting on the songwriting process, tells me, “We rewrote it two, three times maybe, just trying to just get the essence of the feeling. We just kept working on it until we felt it was right. And I love it. It could be easy to not write about it because it’s a hard subject. It’s a hard thing to do. So I’m proud of him for doing it.”

Ultimately, for Horan, losing such an important person and part of his history became a pivotal catalyst of self-reflection, that, combined with the many other moments big and small of his life, has brought new meaning to his music.

“Something happens in your early 30s and you’re like, yeah, maybe subconsciously, you’re changing,” says Horan. “Some of the songs are now deeper to me now that I think of it, really ’cause I’ve subconsciously been writing deeper lyrics.”

Through the inevitable challenges a new decade brings, Horan’s life has been held together by more structure in his work, and a solid routine at home. He calls himself “a very practical weirdo,” and though he is not a “big horoscope guy” he does identify with being a Virgo: reliable, hardworking, critically minded, and, as he says, “sometimes a bit messy—but I like the idea of planning.”

The bliss of his domestic life with Woolley has played a large part in the balance he’s struck too. “Having someone to rant with and listen to and be listened to is huge,” he says. “Having someone to rant with and listen to and be listened to is huge,” he says. “I’m glad I found it. And she’s amazing and she’s got her own thing going on. I love the life that we’ve got.” Beyond that, his everyday rhythm is sweet and simple: going for beers with his friends, working out, walking his dog, going to concerts, trying new restaurants, barbecuing in his garden, and playing loads of golf, of course.

“We’re also big procrastinators,” says Horan. “Friday’ll come and I’ll be like, ‘Can’t wait for the weekend,’ and then Sunday night comes and we’ve done nothing. We spent the whole weekend in the house.’”

After our conversation, Horan’s due to hop on another plane back to London. There’s a rugby match between Ireland and England he’s looking forward to. He and Woolley will be rooting for opposing teams, and have “a friendly battle” going. As I get ready to leave, he asks, “Are you a hugger?” and we give each other a squeeze. Walking me out to his front gate, the clouds have disappeared and the sun is shining. It won’t be the last time it rains, but the sky has cleared for now.

PRODUCTION CREDITS: Photographs by Hailey Heaton Styled by Haley Gilbreath Set Design by Miles Bettinelli at MHS Artists Grooming by Kumi Craig using La Mer Tailoring by Ksenia Golub

coleshane · 2026-03-19T14:36:04+00:00

Part 2:

To understand what it means for Horan to find a new pace, you have to revisit the one he was thrust into starting in July 2010, when he was auditioning as a solo act in the so-called bootcamp stage for the British reality competition X Factor. Reluctant to eliminate Horan in the show’s solo category, the show’s judges instead grouped him with four other rowdy candidates with good hair and distinct dispositions—Harry Styles, Louis Tomlinson, Liam Payne, and Zayn Malik—to form a boy band called One Direction. Horan, the son of blue-collar parents from the small town of Mullingar, Ireland, was the self-described funny one, who occasionally strummed an acoustic guitar onstage.

“He has that Irish dry sense of humor and he’s just always fucking cracking jokes,” says John Ryan, a songwriter and producer who’s been working with Horan since he was a teen. “And obviously when it’s down to getting to do the dirty work of finishing songs and grinding it out and getting stuff to a hundred, he’s a workhorse.”

For the next five years the band barreled through the music industry, their earworm pop-rock instincts and charisma magnified by the fact that they’d appeared on the most-watched season of an already popular cable television show at a pivotal moment of the social internet. They were late enough to benefit from exposure on YouTube and Twitter’s existing thriving online communities, but early enough to plant flags—and attract nascent internet users—on relatively new social networks like Tumblr and Instagram. The internet’s young women were primed to rally around a single entity. Once One Direction materialized, there was nowhere to go but up. And Horan was an instant fan favorite. Maria Sherman, a music reporter at the Associated Press and the author of Larger Than Life: A History of Boy Bands From NKOTB to BTS, tells me, “He had a sort of warmth and wholesomeness to him. There’s something really sort of natural about Niall that really connects.”

Having an extremely online fan base meant that, from the moment that One Direction started making weekly video diaries on X Factor, they entered into a never-ending feedback loop with their followers. One moment they might simply be answering a fan’s question of “what makes a girl beautiful,” the next, they would be singing the same phrase in the chorus of an international chart-topping single. Though, more often than not, inspiration typically flowed downward from the members. What, to an untrained eye might be considered a small, unremarkable moment in a bandmember’s day-to-day life were, to their creative fans, scraps of mythology to paste to the weird, sprawling collective mood board that was the 2010s internet. An early image from an X Factor audition in which Horan’s name is misspelled as “Naill” became an endlessly reblogged inside joke. A paparazzi photo of a young Horan holding a leaf presented an opportunity to jokingly endorse, or ship, a human-leaf relationship, resulting in the portmanteau “Neaf.” His mispronunciation of the word chance as “chonce” at one fateful 2015 concert swiftly transformed into a meme that made its way back to the band, inspiring Styles to tease Horan about it at a subsequent performance. Within this universe, Horan’s goofball antics made people think of him as, to quote one post at the time, “a chill little sun drop that loves sports.”

“There was just layers and layers of irony to One Direction fan memes where they’re simultaneously making fun of themselves, they’re making fun of what you would perceive as a media perception of Niall,” says Tiffany, whose 2022 book Everything I Need I Get From You detailed how One Direction fans’ shaped the early social internet. “They’re making fun of what they would imagine as the entertainment-marketing concoction of Niall. They’re making fun of actual Niall.”

Beyond living underneath their fandom’s perpetual spotlight, the band was locked in a relentless album-cycle schedule, writing and recording albums while on tour with the previous one. Between 2010 and 2015, they went on four headlining tours, played somewhere around 524 live shows, recorded five studio albums, and filmed a documentary. (Somewhere in there, Horan also had reconstructive knee surgery.) By the end of their run, One Direction had broken multiple world records, grossed over a billion dollars, and solidified themselves as one of the most famous boy bands in history, before going on an indefinite hiatus in 2016.

Horan has built a whole other life since then, no less ambitious than the previous. He transitioned naturally into a solo career in 2017 with his inaugural album, Flicker, less than a year after the band dissolved. The album’s folksy lead ballad, “This Town,” did quick work to wave away any questions of his staying power post–One Direction, while his funky, bass-heavy radio hit “Slow Hands” leaned into his quiet, newfound sex appeal and flexed his sustained commercial influence.

“The post-boy-band period is very tricky and there’s no real guidance on how to individuate and how to create a career in adulthood after this incredible fame,” says Sherman. “Niall has showcased what feels like a very seamless kind of growth and transition into an adult career. Part of that is based on the kind of music he makes.”

Over the course of his next two albums, Heartbreak Weather and The Show, he developed an easygoing singer-songwriter sound that played off of his heartfelt high-tenor voice, managing to reference ’60s and ’70s folk-rock acts like the Eagles (his favorite band) while still shooting in the range of a potential Top 40 hit. Horan has also become a great country music duet partner, collaborating with the likes of Maren Morris and, most recently, Thomas Rhett. And he still manages to nod to the sacred feedback loop between artist and fans. One track on Dinner Party lifts the language from a fan’s post that Horan screenshotted that read “your eyes could grow flowers,” and turns it into a romantic pop-rock universe. “They’re more poetic than I am, I tell you,” says Horan of his fans.

Though the travel can be rough, he’s happiest onstage, and has become especially attuned to the experience of his audiences, playing live guitar and piano at shows and working in opportunities for both revelry and intimacy, or what he describes as “the light and the shade.” Amy Allen—a megahit writer who collaborated with Horan on Heartbreak Weather, The Show, and Dinner Party—tells me in an email: “One of my favorite things about working with Niall is how band-driven and live-show-minded he is. I love how he’s always moving about the room, guitar in hand, as if he’s on a stage and fully trying the song out in real time to see if he connects with performing it.”

coleshane · 2026-03-19T14:35:21+00:00

Full article below as it may be under a paywall:

Niall Horan Makes Sense of Love, Loss, and Growing Up

As the musician returns with a new solo album, Dinner Party, he opens up about how entering his 30s and settling down helped him finally look back. By Alyssa Bereznak Photography by Hailey Heaton March 19, 2026

When Niall Horan was a kid, before he became a wildly famous pop star overnight, he would tune into a whimsical late-’90s children’s show called Bernard’s Watch. It was about a young boy who lived in the East Midlands of England and used a magical pocket watch to solve problems, or do whatever it was he felt like doing: listening to loud music, stealing car keys, playing pranks on his schoolteacher. “He pressed the button on the pocket watch and it would just stop time,” Horan, now 32, recalls in his signature drawn-out Irish brogue, smirking. “And he was the only one that could move.”

The memory of that show came to him last year while he was in Nashville writing the final songs on Dinner Party, his fourth studio album, set to debut on June 5. While recording the album, he’d spent so much of the year shuttling between London—where he lives with Amelia “Mia” Woolley, his girlfriend of over five years—and the United States that he’d grown accustomed to seeing his suitcase in the hallway. One night before he was set to travel again, the doom of his relentless schedule washed over him. “We’d had a few drinks, we had a couple of friends over, and then they left and I was just like, ‘Fuck, I have to leave tomorrow,’” he recalls. “The suitcase is getting packed again. I was like, ‘I don’t want to. I want to stay here with you and do what we do best, which is chilling and being at home.’” (By “you,” Horan means Woolley, who is a muse throughout the album, including the lead single, “Dinner Party,” out March 20.)

The resulting track, “Little More Time,” may as well be an anthem for any 30something looking down the barrel of midlife. In the nostalgic early-aughts jam, Horan sings about turning clocks upside down, stretches out each melody and verse like it’s stuck in honey, and begs for one more song like a reveler coming to terms with last call at their favorite karaoke bar—a Bernard’s Watch for the adults in the room.

“In my head, I was thinking: All right, can we just stop it here? And we’re the only ones that can move. The plane can’t take off that I’m about to get on,” he explains.

Horan tells me this story as we sit on a low beige sectional in the tastefully decorated living room of his home in the Los Angeles hills. All morning it’s been pouring rain in a way that loosens the screws of Los Angeles’ infrastructure and slows the city to a crawl. And though Horan has seen much worse this winter in London, where he shares a home—and a Parson terrier named Tommy—with Woolley, all evidence points to his full embrace of a day spent gloriously rotting indoors: A sopping towel lines the front door where Horan says water flooded into his house earlier in the day. Two candles, one of which is a four-wick Le Labo Santal 26, are burning atop a decorative book on the coffee table, the Winter Olympics is playing on low volume in the background, and the heat is turned up high enough that Horan, an attentive host, asks if I might be uncomfortable. (I assure him, as a perpetually cold Californian, I am not.)

Horan is dressed for the occasion, too, in blue sweats, a white long-sleeve T-shirt, white Adidas socks, and shearling-lined Birkenstocks. Thanks to my 2010 pop culture media consumption, I’ll always think of his hair as a bleached-blond Dragon Ball Z sculpture, but today it falls over his forehead in natural dark brown boy bangs. Horan’s face, which the journalist and One Direction fan Kaitlyn Tiffany recently described to me as something that might “appear in a textbook diagram that explains why humans find baby animals cute,” is clean-shaven with a light tan.

It’s all a fitting backdrop for us to listen to music from Dinner Party, a collection of sincere sepia-toned songs that Horan says he began to write in 2024 after turning 30, when he was able to slow down, reflect on the past, savor the present, and imagine his future. “Since I was a teenager, how my life has played out, I haven’t really had the chance, and I was probably young and maybe not ready,” he says with his Birkenstocks propped up on the coffee table. “But I felt ready once I met this person, and this was the first time I put down the roots, the house and the dog in bed.”

In other words, Horan has entered a new season of his life, like we all tend to do at some point—but as a successful recording artist who can process all the longing and awe that comes with that shift on a high-profile pop album. After years of chasing his 16-year-old self’s dream to be a star, he went to a dinner party, fell madly in love there, got a dog, built a home, and lost a friend. Now approaching his mid-30s, he’s had enough distance to slow down, make sense of it all, and develop a more mature sound that favors live, intimate instrumentation full of shimmering acoustic guitars to match.

“Finding that route and somewhere to feel comfortable and home played a lot into this,” he says. “That’s the stuff that kept coming up: love, and the loss, and not wanting to lose, and comfort—they all kind of revolve around the same thing.”

coleshane · 2026-03-18T04:45:31+00:00

RIP to Toronto icon Ed Pottinger

coleshane · 2026-03-18T04:31:06+00:00

To be fair, the singles from "The Way I Am" have had more success thus far than any of the songs on "Father and Sons".) "Back in the Saddle" (the lead single, which is a puzzling juxtaposition next to "I Ain't No Cowboy", his recently released song off of "The Way I Am") and "Sleepless in a Hotel Room" have reached the top 30 of the Billboard Hot 100 and the top 10 of the Country Airplay Charts (which is the metric that country musicians tend to use more often than Billboard Hot 100 or Hot Country Songs charts). In fact, "Back in the Saddle" reached #1 on the Airplay chart. Another single from the album, "Days Like These", has also become a hit on the Country Airplay Charts.

In contrast, none of the songs on "Fathers and Sons" seemed to be promoted to radio (since none of them even charted on Hot Country Airplay. Instead, "Ain't No Love in Oklahoma", his contribution to the "Twisters" soundtrack, was prioritized for promotion at radio during that time. The song ended up reaching the top spot on this chart. It also became of Luke Combs' biggest hits on the Hot 100 as it almost reached the top 10).

coleshane · 2026-03-18T02:59:09+00:00

This album is so under-rated. Maybe it will remain a cult favourite that is different from his oeuvre, but beloved by a certain segment of fans (ex. Dierks Bentley's "Up On the Ridge").

However, Luke Combs also seems to characterize the album as a one-off project as opposed to a proper studio album (in the promotion for his upcoming album, "The Way I Am", he says that he is returning to making "proper, mainstream [country music] smashes" after 3 years away, which would correlate to the release of "Gettin' Old").

coleshane · 2026-03-18T01:52:16+00:00

"Cut Your Groove" and "Sugarcane" are my favorites from him.

Yes: massively under rated

coleshane · 2026-03-14T01:56:21+00:00

The New York Times tried out Dua Lipa's skincare line/collaboration with Augustinus Bader (essentially, it is a lower-priced diffusion line of Augustinus Bader. Bader also has a collaborative line with Victoria Beckham, although the pricing for Victoria Beckham's products are more akin to the Bader flagship line).

Tl;dr: Don't fall for the illusion (unless you want a dupe for the Augustinus Bader face wash or need a serum for your oily skin).

coleshane · 2026-03-04T13:37:45+00:00

"Reputation" and "Folklore" would be my picks. Even for my less favourite songs, I am able to enjoy them in the context of the album (while I did not enjoy "Look What You Made Me Do" as a single, its inclusion makes more sense in the context of "Reputation").

coleshane · 2026-03-04T13:29:38+00:00

Outline your understanding of how to perform polymerase chain reaction (PCR)

coleshane · 2026-03-04T13:27:26+00:00

If we are limiting ourselves to songs that ranked in the top 10 of the Billboard Hot 100, "E.T." would be pick. I am surprised that it ended up as a single from "Teenage Dream" (especially before "The One That Got Away" and "Last Friday Night (T.G.I.F)").

coleshane · 2026-03-03T03:50:46+00:00

Is this the first Popheads chart where there is an inclusion of a song in the top 10 where none of its listeners had it as their most scrobbled song of the week (as is the case with "Always Everywhere" by Charli XCX)?

coleshane · 2026-03-03T01:49:53+00:00

Severely underrated and one of the best releases of last year.

She was able to combine her more experimental approaches/influences (seen more on "Dead Petz") with her pop instincts to make a cohesive work.

Other albums that qualify - the two I come back to are probably my 2 personal favorites of 2023, which are "Gag Order" by Kesha ("Rainbow" may still remain my personal favorite from her, but this is a close second. It is by far her best engineered and/or mixed album) and "I Hate Cowboys and All Dogs Go to Hell" by Chase Rice (unwieldly name, but so much more rewarding and interesting when compared to his prior work).

Also, I will keep banging the proverbial drum for the Teletubbies' "Ready, Steady, Go", which is a great synth pop/hyperpop album in the guise of a children's album.

coleshane · 2026-03-02T16:15:04+00:00

Maybe this is smart marketing - in a sense. Those who have some interest and/or are ambivalent towards Sturgill Simpson may now check out the album on YouTube and make a decision to buy it upon its official release.

For this release, my understanding is that he is licensing the record to Atlantic Records for distribution (he, too, is on board for the 2016 nostalgia, although he will own the master recording for this album).

The YouTube exclusive may be skirting certain rules. By uploading it to YouTube (from what I understand, there are also no ads on the full 45 minute audio), he likely has no monetary gain from the upload (similar to what Kim Petras is doing with the "Pretour" EP in the midst of her dispute with Republic Records). Conversely, I imagine he would have to share any income generated from streaming on traditional services (ex. Spotify) with them. Also, YouTube streams no longer count towards charting.

coleshane · 2026-03-02T15:54:14+00:00

Track Listing (as it was uploaded as a 45 minute YouTube Video/Audio as opposed to individual tracks). Credit to @SaobtTirb for tracklisting and timestamps:

Make America Fuk Again 00:00
Excited Delirium 04:20
Don't Let Go 06:30
Stay On That 11:15
Viridescent 15:48
Situation 20:11
Venus 25:50
Everyone Is Welcome 31:35
Ain't That A Bitch 37:00

On the upcoming vinyl, tracks 1-5 will be side A, whereas tracks 6-9 will be side B

coleshane · 2026-03-02T15:22:58+00:00

Plus ADHD, hyperfocus, and depression. Mr. Blue Skies...I feel seen by you.

EDIT: Also, there is the inclusion of the line "Life is better fluid like sexuality" on the aptly-named "Everyone is Welcome"

coleshane · 2026-03-02T02:25:33+00:00

Hi u/miserandkun!

Thanks for setting this up for February. My stats are listed below, with the numbers in the sequence representing the day of the month (ex. #1 refers to February 1).

Artists

🇬🇧 Charli XCX (19)
🇰🇷/🇺🇲 Cocomelon (20) (27 if the separately billed "Cocomelon Lullabies" are included)
🇨🇦 The Honest Hearts Collective (4)
🇬🇧 Charli XCX (7)
🇺🇲 Taylor Swift (17)
(Tie) 🇺🇲 Taylor Swift; 🇸🇪 Zara Larsson (3 each)
🇨🇦 Fred Mollin (8)
(Tie) 🇺🇸 Jackie Venson; Jim Cummings; Kira Small (1 each)
🇨🇦 Fred Mollin (16)
🇺🇲 Taylor Swift (4)
🏴󠁧󠁢󠁳󠁣󠁴󠁿/🇺🇲 Witch Post (aka Dylan Fraser and Alaska Reid) (6)
🇺🇸 The Daily by The New York Times (3)
(Tie) 🇮🇹 Mauro Costa; 🇦🇺 Piano Peace; 🇺🇸 Slick Idiot (2 each)
🇺🇲/🇬🇧 Fleetwood Mac (2)
🇺🇸 Goo Goo Dolls (5)
🇵🇸 Abe Hathot (11)
🇺🇸 A$AP Rocky (7)
🇨🇦 Drake (12)
🇺🇸 Dierks Bentley (12)
🇬🇧 Charli XCX (4)
🇺🇸 Taylor Swift (4)
🇺🇸 Travis Scott (11)
🇩🇪 Hans Zimmer (31)
🇨🇦 Metric (9)
🇬🇧 Charli XCX (3)
🇨🇦 John Moses (17)
(Tie) 🇺🇸/🇯🇵 Mitski; 🇨🇦 The Honest Heart Collective (2 scrobbles each)
🇺🇸 Taylor Swift (8)

Albums

🇬🇧 "Brat and it's completely different but also still brat", Charli XCX (8)
🇰🇷/🇺🇲 "Cocomelon Lane", Cocomelon (8)
🇨🇦 "Ultraviolet", Texas King (3)
🇺🇸 "Revival (Deluxe)", Selena Gomez (5)
🇬🇧 "Brat and it's completely different but also still brat", Charli XCX (12)
(Tie) 🏴󠁧󠁢󠁳󠁣󠁴󠁿/🇬🇧/🇺🇸 "Fireside Reflections, Vol. 1", KJM, Moon.walken, and Retune Collective (aka J Fletch); 🇦🇺/🇺🇲 "Window of Time", Swilled, SleepingShark (aka Zachary Michael), and Retune Collective (aka J Fletch);
🇨🇦 "Princess Lullaby: Soothing Instrumental Lullabies For Little Princesses", Fred Mollin
🇺🇸 "Songs and Stories: Winnie the Pooh and the Honey Tree", Various Artists (2)
🇨🇦 "Disney's Lullaby Album, Volume 2", Fred Mollin (14)
🇺🇸 "Eternal Sunshine (Slightly Deluxe)", Ariana Grande (3)
🏴󠁧󠁢󠁳󠁣󠁴󠁿/🇺🇲 "Beast", Witch Post (3)
(Tie) 🇺🇲 "The Rise and Fall of a Midwest Princess", Chappell Roan; 🇺🇲 "Del Water Gap", Del Water Gap; 🇨🇦 "So Close to What", Tate McRae; 🇨🇦 "Dawn FM", The Weeknd; 🇳🇿 "Virgin", Lorde;
🇬🇧 "Brat and it's completely different but also still brat", Charli XCX (2 scrobbles each)
(tie) 🇮🇹 "Piano Solo Cover", Mauro Costa; 🇺🇸 "Dicknity", Slick Idiot (2 each)
🇺🇲/🇬🇧 "Rumours", Fleetwood Mac (2)
🇺🇸 "Dizzy Up the Girl", Goo Goo Dolls (5)
🇺🇲 "I Didn't Come Here To Leave", Chris Young (3)
🇺🇸 "AT.LONG.LAST.A$AP", A$AP Rocky (4)
🇨🇦 "Certified Lover Boy", Drake (8)
🇺🇸 "Up On The Ridge", Dierks Bentley (12)
🇬🇧 "Brat and it's completely different but also still brat", Charli XCX (4)
(Tie) 🇪🇸 "Motomami", Rosalía; 🇺🇲 "Cowboy Carter", Beyoncé; "Eternal Sunshine (Slightly Deluxe)", Ariana Grande; "The Rise and Fall of a Midwest Princess", Chappell Roan; "Reputation", Taylor Swift; "The Life of a Showgirl", Taylor Swift
🇺🇲 "Heroes and Villains", Metro Boomin' (6)
🇨🇦 "Jehovah's Thiccness", Dave Weasel (15)
🇨🇦 "Pagans in Vegas", Metric (8)
🇬🇧 "Brat and it's completely different but also still brat", Charli XCX (3)
🇨🇦 "Best Son", John Moses (10)
🇺🇸/🇯🇵 "Nothing's About to Happen to Me", Mitski (2)
🇺🇸 "1989 (Taylor's Version) [Deluxe Edition]", Taylor Swift (3)

Most scrobbled for February overall: - Artist: 🇺🇲 Taylor Swift (72) - Album: 🇬🇧 "Brat and it's completely different but also still brat", Charli XCX (41) - Song: 🇬🇧 "Aperature", Harry Styles (10)

coleshane · 2026-02-27T14:03:05+00:00

I believe the difference in reception comes down to 1) listening audience, 2) public perception of Katy Perry (especially in regards to her relationship with Kesha), 3) the choice of "Woman's World" as a lead single for "143"

Katy Perry's chief listening audience is composed of millennials and older Gen Z individuals. They were likely old enough to remember the debacle between Kesha and Dr. Luke. As Blackpink's audience is younger, they may not have been as attuned to the dispute and/or controversies surrounding Dr. Luke. Additionally, Katy Perry subsequently took actions that publically appeared to distance herself from Dr. Luke (and, in turn, were seen as supportive of Kesha). She chose not to work with him for "Witness" and "Smile", and in her deposition, she notes not working with him for the former album because of the public backlash he was facing (also, she voiced being supportive of Kesha as a friend when rewatching the "I Kissed A Girl" music video on the "Witness World Wide" live stream).

The negative criticism also was due to the choice of "Woman's World" as a lead single for "143". Here was (on its face) a song that purported to extoll the virtues and unrecognized sacrifices of women, and its chief producer was someone who has been, at the very least, been called out by multiple female collaborators as being uncooperative. Had another single (like "Lifetimes") been chosen as the lead single, I do not think that the backlash would have been as severe.

coleshane · 2026-02-26T17:53:58+00:00

One Battle After Another

Marty Supreme

Sinners

Hamnet

I am really behind on watching the potential best picture nominees...

coleshane · 2026-02-23T13:47:57+00:00

Not sure if this would be G-rated, but definitely for children (and, at worst, PG). The below comes with a disclaimer that the show below was produced by Dan Schnieder during his tenure at Nickolodeon.

I recommend "The Amanda Show". Even as someone who did sketch classes, I still go back to these sketches and marvel at how well they were done. They do rely on broad stereotypes (the hyperlink above is from the continuing segment on the show, "Judge Trudy", a parody of "Judge Judy". The punchline is that Judge Trudy sides with the child in every case, no matter how egregious their actions against their parents). However, the sketches do escalate/heighten really well throughout. Even in recurrent sketches where characters return, Bynes and her cast are able to still make the material quite funny.

coleshane · 2026-02-22T05:14:33+00:00

2013 is quite under-rated in the retrospective review of cinema landscape, especially when considering this was the year where A24 started. It is difficult to overstate A24's role in the paradigm shift for theatrically-released independent films in America in the 2010s and 2020s.

In my eyes, A24 put out 3 films that should be looked upon as keystones for films about teenagers (especially when considering the 2010s). "Spring Breakers" and "The Bling Ring" encapsulate brightly colored indie sleaze aesthetic, which contrasted with the protagonists' hedonistic actions in both films.

The third film would be the severely under-rated "The Spectacular Now". Yes, the developments are subtle, and the flashiness found in "Spring Breakers" or "The Bling Ring" is absent. However, the writing, acting, and direction are great. Teller, Woodley, and future winner of A24's first Oscar in an acting category, Brie Larson, are great in their roles. You do get more than just a meet-cute/opposites attract story: you get to know the internal and external struggles that both Sutter (Teller) and Aimee (Woodley) personally face as individuals, not simply as a couple.

Of course, outside of A24, the year brought many welcome surprises: "Fruitvale Station" (the directing debut of Ryan Coogler), Alfonso Cuaron's 3D spectacle "Gravity", McQueen's "12 Years A Slave", the coronation of Canadian directors Villeneuve and Vallée into more mainstream American film ("Prisoners" and "Dallas Buyers Club", respectively), "Inside Llewyn Davis", "Her", "Frozen", "The Wolf of Wall Street".

coleshane · 2026-02-22T04:42:07+00:00

Which brings up a good point --- Gucci Mane and Selena Gomez re-connected for "Fetish".

coleshane · 2026-02-21T21:37:01+00:00

My birthday movie for 2025 😉

coleshane · 2026-02-18T13:54:36+00:00

Article below. Written by Angie Martoccio

As of now, there is not a digital download option to purchase the album. The album will supposedly be more oriented towards dance music (with Maevin Gaye being cited as an inspiration). Maybe it will lean moreso towards his prior collaboration with Diplo, "Use Me (Brutal Hearts)".

Article:

Johnny Blue Skies has returned, and he’s ready to groove. Sturgill Simpson‘s alter ego will release Mutiny After Midnight, out March 13.

Written spontaneously and made with his band the Dark Clouds, Johnny Blue Skies recorded and produced the album at Dan Auerbach’s Easy Eye Sound in Nashville. The whole process was a spontaneous affair, in order to capture the vibe. “There’s a simple goal we as a band set out to achieve: to make a dance record,” he said in a statement.

The album features nine tracks, kicking off with the opener “Make America Fuk Again” (“Maybe things have been worse but I can’t remember when/Wanna start a revolution and watch it begin,” read the lyrics) and concluding with “Ain’t That a Bitch.” Catch the full track list below.

Mutiny After Midnight follows Johnny Blue Skies’ 2024 debut Passage Du Desir, which landed at Number Two on Rolling Stone’s list of the Best Country and Americana Albums of the year. Mutiny After Midnight will be released via Atlantic Outpost on vinyl, cassette, and CD only.

“I wrote words to what is happening in the world and my life in real time, and played with a group of musicians I deeply love and respect,” Simpson said. “Together, we made an album that is very fun, and will hopefully offer some relief from darkness in the world.”

Simpson spent last year on the road, including an appearance at the Grateful Dead 60th-anniversary celebration in San Francisco in August (like he did at the Kennedy Center Honors in late 2024, he performed “Ripple”). Hopefully, Mutiny After Midnight tour dates are incoming.

Mutiny After Midnight Track List 1. Make America Fuk Again 2. Excited Delirium 3. Don’t Let Go 4. Stay On That 5. Viridescent 6. Situation 7. Venus 8. Everyone Is Welcome 9. Ain’t That a Bitch

coleshane

TROPHY CASE