1994 in Music—A Renaissance

Photo courtesy of Blank Newspaper

1994 was a year of a renaissance in all aspects of popular culture. The internet was rising in mainstream popularity: Aerosmith was the first band to give a song away for free online. Britpop was peaking in popularity with bands like Oasis and Blur, and the UK was answering to the grunge scene in the US.

While 1993 was considered “the year of hip-hop and R&B” according to Vibe magazine, 1994 offered a rebirth of grunge and rock and roll that seemed to blend genres and advocate for political justice. Grunge, funk-rock, and pop-punk bands like Nirvana, Red Hot Chili Peppers, and Green Day were at an all time high. So what caused this drastic shift from hip-hop to the scene we know today? It may help to look at a break down of the year.

JANUARY:

The beginning of 1994 saw an attempt to heal old wounds with Bryan Adams performing in Vietnam in January – the first major Western artist to do so since the end of the war nearly 20 years previously. A fitting start to a year that saw the music scene grow by leaps and bounds across the world. Shortly after, Alice in Chains released their album Jar of Flies, the first EP ever to debut at No. 1 on the Billboard 200, foreshadowing the rebirth of rock and grunge that ‘94 would offer.

FEBRUARY:

February introduced Green Day’s third studio album Dookie. Punk has always been a major musical genre, but by 1994 the genre had become associated with the sound of angsty teenage drama that, quite frankly, was getting old. Yet, one band rose above the typical sound and was able to redefine the musical genre that is punk. While Green Day’s album Dookie was originally meant to be a parody of all punk that came before it, it ultimately launched punk into a mid-90’s revival and changed the genre from angsty teen to a much more upbeat sound. Through offering this new sound, Dookie became an instant success. By March of 1995 it had won a grammy for Best Alternative Album. Although Dookie only made it to the 2nd highest spot on the music charts, it has sold over 20 million albums to-date and turned the genre of “angsty teen” into a new upbeat, derisive sound which is known today and can be heard across like Blink 182, Sum 41, Good Charlotte, and Avril Lavigne.

MARCH:

1994 was a pivotal year for industrial rock with the once alternative genre making its way into the mainstream music scene following the release of Nine Inch Nails’ second album The Downward Spiral. People went nuts for the release, enjoying its combination of industrial rock, techno, and heavy metal sound; it received positive response from critics and fans alike. Not only did it reach number two on the Billboard 200, but it went on to sell 3.7 million copies in the United States, earning it an impressive quadruple platinum certification. The once underground genre had risen well above the surface.

Despite the positive response from some, like with any album release, there were also some criticisms. The main critiques of the album revolved around the dark and often gruesome lyrics. Social conservatives especially protested the album’s treatment of religious themes; in the song “Heresy” for example, the lines “God is dead and no one cares/ If there is a hell, I’ll see you there” sparked intense criticism. Others were also hesitant about the sound’s movement into the mainstream music world, believing that industrial rock was too harsh and extreme. But regardless of the backlash and opposition, the album still contributed to industrial rock’s new mainstream presence, and The Downward Spiral is retrospectively recognized as one of the most important albums of the decade.

APRIL:

One of the most eventful months in music history—Kurt Cobain, lead singer of Nirvana, was found dead in his home. His death was ruled as a suicide from a self-inflicted gunshot wound 3 days earlier. He had been missing for six days.

A month before, Cobain fell into a coma after an overdose. His management agency stated that he was suffering from fatigue and influenza, and that the overdose was accidental. Cobain’s wife, Courtney Love, told Rolling Stone that he took 50 pills and that there was a “definite suicidal urge.” This information was only released after his death and the incident was confirmed to be an earlier suicide attempt by Cobain.

Anthony Kiedis, lead singer from Red Hot Chili Peppers, stated that, “The news sucked the air out of the entire house…‘The world just suffered a great loss.’ Kurt’s death was unexpected … It was an emotional blow… for all of his screaming and all of his darkness, he was just lovable.”

After his death, every American musician mourned together and each paid tribute to Cobain in one way or another. Nirvana touched the lives of every music lover. Indeed, the death of Kurt Cobain was a collective loss for the world.

MAY:

In May of 1994, Nelson Mandela had left a globally historic mark in politics for being the first ever black Prime Minister of South Africa. Not only is he known for his anti-apartheid movement, (which was concerned with removing policies that enforced segregation between South Africa’s white and nonwhite citizens), and  his revolutionary position as a political leader, Mandela paved the way for many artists learning to combine politics and music.

In the late 60’s to late 80’s, Nelson Mandela was imprisoned for treason against the apartheid government. During this time music played a huge role in Mandela’s personal, spiritual, and political life. While he was serving jail time, artists across the globe were protesting for the very things he believed in—freedom, equality, peace, and specifically anti-apartheid. In 1985 a song was released by Artists United Against Apartheids. Called “Sun City,” the song was a public pledge made by over 50 artists, promising a cultural boycott against South Africa until the apartheid ended. According to Los Angeles Times, the song “for the first time brought together on record superstars of rock and R&B with the kings of a rising young genre called hip-hop.” Not only did “Sun City” fuse genres and artists together, but also merged nations such as South Africa and North America in order to put an end to racial segregation and discrimination.

1994 was a year known for addressing politics in music and we can salute Nelson Mandela for giving us the opportunity to address important political movements through music. Mandela even said so himself that, “Music is a great blessing. It has the power to elevate and liberate us. It sets people free to dream. It can unite us to sing with one voice. Such is the value of music.”   

JUNE:

In June, Aerosmith released the first free full-length song ever to be available on the internet. The song, “Head First,” was downloaded over 10,000 times on the web server CompuServe within the first eight days of its release. 1994 was a pivotal year for music, not only in sound, but in distribution. With the birth of the internet 5 years previously, it changed the way music was consumed from 1994 on. 1994 saw a shift towards online databases which would revolutionize the way music is distributed and accessed.

Although the internet by no means took off in 1994, it without a doubt paved the way for how music streaming would be transformed today. Having had both positive and negative effects on the music industry since, the internet created a new platform for music to be available on—which is arguably the most important and widely used way of consuming music today. YouTube, Apple Music, SoundCloud and Spotify are just a few of the online streaming services which depend on the availability of the internet for their success.

The internet was also responsible for the popularization of the Indie genre, as the internet gave independent artists a wider audience without the difficulties of finding a major label to sign you. Especially with new technology available today, every new laptop Apple releases has the ability to record music, increasingly better than what makeshift technology garage bands had in 1994. The internet gave people an audience then just as it continues to give burgeoning musicians an audience now.

The early 1990’s also saw the modernization and popularization of different methods of producing music as well. For example, the synthesizer, an electronic instrument which generates audio signals and converts them to sound, was first created in the 1960’s. By 1994, however, synthesizer’s were reimagined into compact, portable machines, and (thanks to the popularization of the internet) began to appear in computer software. The synthesizer software became available for personal computers – which made it even easier for at-home garage and Indie bands to record music.

Not only was the synthesizer popularized, but so were electric loop systems. Although not yet called “loop pedals,” the early 1990’s saw the introduction and widespread sale of live electronic recording devices. Musicians like Ed Sheeran would not exist, or at least not be able to play live shows without the loop pedal. Technology boomed in the early 1990’s giving musicians the ability to play alone by creating machines which allowed them to do more with less.

The internet is responsible for changing the way music has been produced, accessed and distributed, and the technological innovations of 1994 were a huge step for musicians-kind. We are still living in the age of the internet; everything we want is instantly accessible right at our fingertips. When all I need to do is say, “Hey Siri, play ‘Black Hole Sun’”, what is the appeal of going out and buying hard copies of music anymore?

JULY—AUGUST:

July saw the launch of two popular festivals: Yoyo a Go Go, a punk and indie rock festival in Washington, and Verbier Festival, focusing on classical music, in Switzerland. As SPIN magazine described, “the first Yoyo blossomed in the damp heat that followed Seattle’s grunge explosion.” It also marked the first time that Krist Novoselic and Dave Grohl performed together after Kurt Cobain’s death, in an unscheduled performance with The Stinky Puffs. Yoyo was held four times up until 2001, and Verbier festival still continues annually to this day.

Later, August saw a continuation of music’s growing ties with the internet. On the 13th, Sting released a CD copy of Ten Summoner’s Tales, which was the first time a physical music unit was sold and shipped entirely because of the internet.

Jeff Buckley’s only studio album Grace was released on August 23rd, and despite a mix of good and bad reviews, it barely cracked the US Billboard 200, peaking at #149. Twenty-five years later, it has grown to be legendary, and has been named platinum several times over worldwide.

On August 31st, across the pond from the US, Oasis’ debut album Definitely Maybe exploded onto the scene, quickly becoming the fastest selling debut album in the history of the United Kingdom. It was around this time that the term Britpop was coined to describe the musical culture growing around British music in the mid-90’s. Britpop was seen as the answer to the US grunge scene, contrasting the dark themes and sounds with poppy and catchy alternative rock.

The end of summer was commemorated with a 3-week 25th anniversary festival of Woodstock in Saugerties, New York, commonly referred to as Mudstock. Bad weather and copious amounts of mud didn’t stop the artists or audience from rocking out for “2 more days of peace and music”. The festival featured all kinds of musical performances including Sheryl Crow, Metallica, Greenday, The Allman Brothers Band, and Salt-N-Pepa. The most memorable event of weekend party was in the middle of Green Day’s setlist, guitarist Billie Joe Armstrong interrupted their playing to start a massive mud fight with the audience on the South Stage.

Meanwhile, almost one thousand miles away R. Kelly was bringing the “love” into “love and hip-hop”. On August 31st, he drove to Illinois with his “close friend” and mentored student, Aaliyah to be married. This became quite the scandal and a lot of speculation rose from the matrimony , seeing as there was a 12 year age gap between the artists and Aaliyah was only 15 at the time. Aaliyah never confirmed that the marriage was official, only telling the media that “they were just rumours”, until she confessed that she lied about her real age on the court documents and that she was too young at the time to properly consent to anything without her parents’ permission. The marriage was annulled only a couple of months later and she cut off all contact with Kelly altogether.

SEPTEMBER:

Autumn was the time for falling in love with Boyz 2 Men’s melodic harmonies as they  resurged the R&B genre back onto the charts when they released their single, “I’ll Make Love to You” on September 3rd. It has remained no. 1 on the Billboard Hot 100 for 14 consecutive weeks and this was the longest running number-one of the entire year until it was beat out by another one of their songs, “On Bended Knee”.

OCTOBER:

October offered a launch of the nu-metal genre thanks to the band Korn, who released their self-titled album on the eleventh of the month. Critics considered how Korn established the new wave of metal, and influenced other popular bands such as Slipknot. In a year where grunge and rock takes centre stage nu-metal was creeping up in popularity near the end of 1994. The album went gold in the United States in 1996 and recieved platinum one year later.

On the UK side, Irish rock band The Cranberries released their 2nd album No Need to Argue. This album featured one of their most successful songs “Zombie,” a political protest song with aggressive lyrics that fit the mood of 1994. The song was dedicated to two young victims of the Warrington bomb attacks of 1993.

NOVEMBER—DECEMBER:

The death of Nirvana frontman Kurt Cobain continued to come up as a hot topic in the later month of November. Previously on November 18, 1993 the band performed acoustically for MTV unplugged. The band took inspiration from Mark Lanegan’s 1990 album The Winding Sheet, which was characterized for having a stripped down sound. The aesthetics of the room during the performance mimicked the mood and look of a funeral. Cobain requested stargazer lilies, black candles and a crystal chandelier, all which foreshadow the tragic event that occured in April the following year. It was not until November 1st, 1994 that the band released their first album after Cobain’s death, titled Unplugged in New York. Their live performance gained popularity, and was different than the other Unplugged performances on MTV. The sound, mood, and aesthetics of this performance were unforgettable, which lead them to win the Grammy award for Best Alternative album in 1996. One year later, it was certified 5x platinum.

In December, Warner Music Group bought a 49% share in the record label Sub Pop, a deal believed to be worth 30 million. At the time Sub Pop was an independent label, most famous for releasing Nirvana’s debut album Bleach and being synonymous with the Seattle music scene, but after the international breakthrough of grunge, many of the label’s bands took Nirvana’s lead, and signed to larger, more commercial labels. This deal terminated Sub Pop’s independence.

IN RETROSPECT:

There is no doubt that 1994 had its fair shares of highs and lows. From the death of Kurt Cobain, to Britpop making a comeback in the American music scene, it truly was the year of a renaissance. 1994 offered the emergence of the new upbeat punk, the birth of the internet that changed the way people accessed music, and the continuation of using music as a political platform. All the things we see in today’s music scene were influenced by what took place in 1994. It truly was a rich year that left a lasting impression on the world.

NSYNC, “Bye Bye Bye” (No Strings Attached, 2000)

by Chelsea Ives

With each year that passed bringing me closer to finishing my university degree, I began to feel older and more decrepit than I ever ought to feel. Every year it seemed each generation became less infatuated with the suave, seductive boy bands of my youth, and I became accustomed to the fact that millennial’s would never feel the same kind of love for the music and boy bands as I did when I was a pre-teen girl, freakishly hoarding burned CD’s scrawled on with black sharpie.

Such was true for my copy of NSYNC’s  2000 album No String’s Attached. I was particularly fond of “Bye Bye Bye,” the lead single from the album. Everyone knew the scandal of NSYNC’s legal battle with their manager Lou Pearlman and former record label, so as much as I was hoping the song meant JT and his then-girlfriend (Brittany Spears) had split, the song was speculated to be about the bands split from their former label.

The song features heavy kick and bass, and catchy lyrics which are impossible to get out of your head. Not to mention NSYNC stomping in unison to a dance that would become iconic with the ability to get your entire high school in a flash mob. NSYC’s lyrics spoke to the hearts of many: like puppets being played with, “(Bye bye) Don’t wanna be a fool for you / Just another player in your game for two”. “Bye Bye Bye” boasts a theme and beat that will never get tired.

I used to lament the fact that millennial’s would miss out on the best generations of music: with every year, and every new boy band hair flipping their way onto the music scene with less classy swagger and more haughty grins, I was increasingly aware of the distance between new age music and 90’s classic’s like NSYNC.

But that changed in 2018. Backstreet’s back, baby! With their single “Don’t Go Breaking My Heart,” it was only time before the other popular 90’s boy bands would reunite and follow suit.

And follow they did!

Just March 1st of 2019, New Kids on the Block released their first song in 11 years – even paying homage to “Bye Bye Bye,” in their music video by dangling by strings like marionettes.

NSYNC by today’s standards may not be the most attractive boy band there ever was, but in the 90’s they were every teenage girl’s daydream. And maybe we’ll be seeing more of them soon.

Carly Rae Jepsen, “Now That I Found You” (2019)

by Chelsea Ives

Carly Rae Jepsen is a name which has recently resurfaced, and it immediately triggers flashbacks of sweaty, sticky high school dances and nervous smiles shared across a dance floor. With her previous album released in 2015, the “Call Me Maybe” singer recently released her newest single, “Now That I Found You” for her forthcoming album due in 2019.

The Canadian singer/songwriter has created a lovely story in her song, “Now that I Found you”. If you watch the music video released with the song, the lyrics, “now that I’ve found you” take on a whole new level of meaning. A sweet story of an adopted kitten and the love between a pet-mom and pet – it’s the love story we never knew we wanted, but that we definitely needed. The song tells a story that anyone can relate to – about finding a new love yes, but also if you’ve adopted a pet before, you surely know the feeling. Jepsen said in an interview with Pitchfork:

“‘Now That I Found You’ is about the high you get when a new love starts to change your life. It’s like the rush, rush, rush is better than any drug.’”

 The theme is clear from the lyrics of the song, “Thought it was impossible / It’s just like a miracle,” a universal emotion, a thought everyone has had once in their life – that you would never find love again, but lo and behold! The next love suddenly appears, and with the cutest marmalade kitten in his arms, no less. The lyrics and instrumentation of the song make it a pure radio-pop hit. Jepsen’s sound is a mix of Taylor Swift (Reputation era) and Katy Perry (“Last Friday Night”). The song holds themes of love, but in an up-beat pop ballad begging to get your head boppin’.

Carly Rae Jepsen’s newest single, “Now That I Found You,” part of her 2019 album which is set to be released in 2019.

Marianas Trench, “The Killing Kind” (Phantoms, 2019)

by Chelsea Ives

“We all float down here.” – a line which never fails to make my skin crawl. So imagine my surprise when I heard it while listening to Marianas Trench’ new song “The Killing Kind”. The Canadian pop-rock band released their newest album, Phantoms on March first. This is the band’s fifth studio album, and “The Killing Kind” is the final song on the album.

I was intrigued when the song first started – it finally sounds different than all their other music! The song starts with harpsichord, and slowly introduces a triangle – it almost sounds like a more up-beat but less-scary Jaws theme song. Josh Ramsay’s voice starts it off quiet and low, until the song picks up with the classic reference to IT.

But unfortunately the song is also a classic – classic because it sounds like every other song Mariana’s Trench has released. The song borrows the band’s theme from their past two albums, referencing lines from other songs or albums in each song. “The Killing Kind,” as the outro concludes with the line, “just hush, Eleonora,” to blend back into the intro track, “Eleonora”. While this album-as-one-extended-song move was exciting in their 2011 album, Ever After, it misses the mark in Phantoms because there’s no clear thematic train to link the songs together.

“The Killing Kind,” builds into the same “Astoria” sounding-scream by Ramsay, and then an alien-siren comes in, before becoming sweeping orchestral music, then the band harmonizes, and then one final smashing-together of all the sounds with Josh Ramsay’s voice before what you think is the end. But then, the song comes around full force again. They just don’t know when to quit.

Altogether, the song was an excellent choice for the close of the album, as it does seem like the band was trying to go in a different direction than in their other albums. The horror-esque theme with references to Poe’s poetry makes “The Killing Kind” intriguing, but ultimately, I think it ends as a six minute roller coaster of instrumental mash-ups which just leaves the listener nauseous.

Marianas Trench, “The Killing Kind,” off their 2019 album, Phantoms.

Album Review: Avril Lavigne, Head Above Water (2019)

Avril Lavigne’s lead single, “Head Above Water,” was released September 19, 2018.

by Chelsea Ives

Queen Lavigne is here. No longer the pop-punk princess we once knew, Avril Lavigne reveals just how much she’s matured with her newest album, Head Above Water released this past February. In her sixth studio album, Lavigne shows a depth that contrasts strikingly with her old music. When I say “depth” I mean she has literally been stranded at the bottom of the ocean – but she’s back – with her head above water and her heart feverishly in her music.

Lavigne has been startlingly absent from the music scene since 2014. After contracting Lyme disease from a tick bite, Lavigne was on bedrest for almost two years – but now she’s finally back. After years of antibiotics and physical therapy for her dystrophic muscles, Lavigne traded in her bed sheets for music sheets. Now, propelled by her experiences, she’s making up for lost time. Lavigne has made a Ke$ha – come back: using her past experiences not only with her illness but also with toxic masculinity to bolster her voice, trading in her usual flippant attitude (“see ya later boi”) for a more serious, adult perspective. The album consists of a series of ballads, with a break in the middle with the more upbeat song, “Dumb Blonde” featuring Nicki Minaj.

“Head Above Water” the title track opens the album, starting with elegant piano and Lavigne’s strong vocals. The spiritual gospel works like a prayer, when she sings, “God keep my head above water …” Lavigne revealed on her website that the song came from what she thought was going to be her deathbed – truly the bottom of the ocean. The album’s set-up effectively moves from where Lavigne’s been, to where she’s going. From the bottom of the ocean, to the highest clouds in “Goddess,” Lavigne’s album is the story of her past, present, and future.

Her songs, which resonate spiritually, touch places deeper than her old music, even her 2007 “When You’re Gone,” which used to be my go-to sad song when I was an angsty teenager. Come to think of it, so was her 2004 song “Happy Ending”. Oh, and then there was her 2002 song, “Complicated” … Lavigne clearly hadn’t stretched her musical abilities as far as they could go. Her 2013 single “Here’s to Never Growing Up,” easily represented how Lavigne went about her music career until now. All her pop-punk songs were catchy, but they were all the same. Now, Lavigne shows us exactly how much she’s grown up in Head Above Water, which has a different perspective, tone, and intention. No longer pumping out tunes for the masses of angsty teenagers – Lavigne gets real by describing her struggles and how she’s overcome them.

 “Tell Me It’s Over,” the fourth song on the album, opens with a gospel/jazzy/soul sound and Lavigne’s amazing vocals, which only strengthened during her years off. The classic piano, and the introduction of trombone and horns gives this song a smooth, strong feeling. The sound of the song reminds me of the new song from Fall Out Boy, “Heaven’s Gate”. It is clear Lavigne is done taking shit from any men. The lyrics, “I’m so tired of certain emotions / That leave me dizzy and confused” are relatable to anyone who has ever been in a relationship.

“Dumb Blonde” is the fifth song on the album, and musically the weakest in my opinion. Lyrically, and thematically I can see the feminist agenda that Lavigne is trying to push, but the “Hey Mickey” sounds pairs awkwardly with the introduction of Nicki Minaj rapping three quarters of the way through the song. The transition is chunky and jarring, which takes away from the “all-hail strong women” vibe Lavigne sets up in the rest of the song. The song was originally supposed to be a solo piece (you can see Lavigne perform the original here) but two weeks before the album’s release, Minaj’s verse was added to the song. However, the original version is stronger and more effective in getting Lavigne’s point across. In the original she sings, “(…) don’t take no shit / … don’t ever shut up / You gotta stand up and fight for it.”, which I think is closer to the old pop-punk Lavigne that we know, and lyrically does a better job of keeping the theme of the song. The saving grace for this song is that it reminds me of her 2007 song, “Girlfriend” in the beat of the song – to the point where “Dumb Blonde” could be a re-make, showing how Lavigne has grown from the “I want to be your girlfriend” to the “get outta my way” of 2019 Lavigne who isn’t taking shit from men anymore.

 “Souvenir”, “Crush”, “Goddess”, and “Bigger Wow” Tell us there is still hope for Lavigne’s love life! Even referencing a possible new beau? The songs which come just before the close of the album bring a positive spin back to love and relationships. After the disheartening image you experience from “Birdie”, “I Fell in Love with the Devil”, and “Tell Me It’s Over” which all reference un-reciprocated love, compassion, and understanding in relationships, Lavigne switches from her toxic relationships of the past to her new, reinvented self. Nothing says “moving on” like picking yourself up and shocking the world with new music which is so drastically different from her old sound.

The song “Warrior” concludes the album perfectly. After she’s revealed her darkest days to us, Lavigne tells us she’s not here for our pity – she’s doing it to show her strength, and to encourage others to have faith in themselves as well. The song features dramatic piano, and Lavigne asserting herself, “I will not break / I will survive / I’m a warrior”.

How many of us would read a book where the protagonist doesn’t develop at all through the plot? So why should we expect Avril Lavigne to produce another cookie-cutter pop-punk album after all she’s gone through? For me, this album represents real struggle, growth, strength, and most of all hope in a future that will be better. Truer to reality than most of what comes on the radio today, I think Head Above Water is the most authentic Lavigne we’ve had yet. To those who think that the album is “boring”, I say: you’ll understand when you’re older.

Avril Lavigne’s Head Above Water album cover.

Avril Lavigne, “Dumb Blonde” (Head Above Water, 2019)

by Chelsea Ives

“Fuck stereotypes. If you’re a strong person and your partner can’t handle you, go find someone who has enough self-confidence and can support you and lift you up and inspire you in your life. As an equal.” Avril Lavigne said in an Instagram post hash tagged “Dumb Blonde”. The Canadian artist is making a cherry-bomb comeback with her sixth studio LP Album released in January, Head Above Water.

The quick rat-a-tat-tat of drums opens “Dumb Blonde” like a parade march…Avril is literally playing herself onto the court with her own song. If that doesn’t scream “strong, independent woman” I don’t know what does. After her 2014 diagnosis of Lyme disease, Avril has been through physical and emotional stresses that should have left her in the dust. But Avril proved the odds wrong, recovered, and now she’s here to say she’s “takin’ the lead”.

“Dumb Blonde” opens with lyrics and that electric guitar which gives me serious “sk8er boi,” flashbacks. The song is the most upbeat song on the album and it’s clear Avril is trying to show her fans that she might have grown up, but she still knows how to have fun. Nothing is holding her back, and she’s more confident than ever. Avril has a very Joan-Jett and the Blackhearts “I love Rock ‘n’ Roll” sound in this song, and I think it suits the theme of the song. Women shouldn’t be afraid to speak our minds and be recognized for strength, independence and confidence, and we shouldn’t be condescended for showcasing our abilities.

Interestingly the song was originally recorded as a solo piece, but two weeks before the albums release, a verse with Nicki Minaj was added. I’ll be honest, I’m not a huge Nicki fan. Unfortunately I don’t see the point of her verse in the song. Avril really brings the feminist agenda here, calling to people to stand up for strong women. Nicki, apart from being looked at as a feminist (for what, though?) lends nothing to the song except a rap sound which refers to her own work with another artist? Sorry Nicki, but I think you dropped the bomb in this one.

Overall, if there’s one thing to take away from this, it’s that Avril really does have her A-game on, and she is bringing the heat to the court.

Avril Lavigne & Nicki Minaj in “Dumb Blonde” from Lavigne’s newest album, Head Above Water.