This video categorizes singers into seven distinct levels (0:00), from "Tone Deaf" to "God Tier," based on their vocal ability across various popular genres like Pop, R&B, Gospel, Country, and Rock.
Here's a breakdown of each level:
Tone Deaf (0:18-2:25): This level includes individuals who cannot sing under any circumstances, often making music for fun or for meme potential. Examples include Paris Hilton, Kim Kardashian, and certain autotune rappers who use the effect incorrectly.
Studio Magic (2:25-5:17): Artists at this level can hold a note and sound good on record but heavily rely on studio production (autotune, pitch correction) and may struggle with live performances. This category often includes former Disney and Nickelodeon child actors like Selena Gomez and Hillary Duff, as well as some influencers.
Not Bad (5:17-9:38): These singers can perform well with or without autotune but may have had notoriously bad live performances or their singing is considered basic. JLo, Britney Spears, Enrique Iglesias, Fergie, and Rihanna are placed in this level.
Great (9:38-14:56): This level features artists with good tone and control, who perform consistently well both on records and live. They understand their vocal strengths and limitations. Examples include Demi Lovato, Bruno Mars, Billie Eilish, Harry Styles, and Justin Bieber, as well as many top country artists.
Elite (14:56-20:14): Singers in this category are considered the upper echelon, often inspiring other vocalists with their technique and mastery. Artists like Brandy, Chris Stapleton, Chris Brown, Usher, Michael Jackson, Adele, Ariana Grande, Christina Aguilera, Jasmine Sullivan, and the Braxton sisters are highlighted here.
Powerhouse (20:14-23:55): This level consists of vocal athletes with incredible range and power, often making listeners stop in their tracks. It includes most gospel singers, along with mainstream artists like Jennifer Hudson, Fantasia, Tina Turner, and Beyoncé.
God Tier (23:55-28:28): The highest level, reserved for generational voices that are unique, immaculate, and have influenced countless other singers. Whitney Houston, Aretha Franklin, Luther Vandross, Mariah Carey, and Celine Dion are placed in this ultimate category.
This video highlights the top 20 reactions from celebrities whose songs were covered on the TV show Glee (0:08). These reactions ranged from thrilled approval to outright criticism.
Highlights include:
CeeLo Green (0:22) loved Gwyneth Paltrow's rendition of "Forget You" (0:36), saying she sang it better than he did and even performing it together at the Grammys.
Jonathan Coulton (1:16) was upset that his acoustic version of "Baby Got Back" was used without his consent (1:46), and he publicly called Glee out for not crediting him.
A Great Big World (2:14) was thrilled their song "This Is the New Year" (2:23) was featured, as they had hoped it would be included on the show.
Madonna (3:09) gave her ultimate seal of approval for the episode dedicated to her (3:13), praising the writing and specific performances like "Vogue" and "Express Yourself" (3:36).
Demi Lovato (4:03) thanked Lea Michele on Twitter for her amazing rendition of "Give Your Heart a Break" (4:13).
Prince (5:01) strongly disliked Glee's cover of "Kiss" (5:10), lamenting that covers allow others to claim existing work as their own (5:31).
Gotye (5:58) criticized the autotuned vocals of "Somebody That I Used to Know" (6:09), but later found other elements of the cover impressive (6:35).
Journey (6:56) initially worried their song "Don't Stop Believin'" (7:19) would sound cheesy, but later realized how much the show introduced their music to a new generation (7:29).
My Chemical Romance (7:56) frontman Gerard Way approved of Glee's cover of "Sing" (8:07) to provoke conservative commentator Glenn Beck (8:24).
Billy Joel (8:59) gave Glee full permission to use his music (9:17) years before his tribute episode, delighted that his songs resonated with younger generations (9:40).
Lady Gaga (11:01) reportedly enjoyed the covers of her songs, fulfilling her dream of students singing her music (11:47).
Katy Perry (12:03) was "smitten" with Blaine's performance of "Teenage Dream" (12:34), tweeting that it brought a tear to her eye (12:46).
Britney Spears (13:00) had positive feelings for the show, guest-starring in an episode and live-tweeting her reactions to performances (13:14).
Slash (14:02) from Guns N' Roses is "anti-Glee" (14:21), comparing the series unfavorably to Grease (14:24).
Nicki Minaj (14:49) surprisingly loved Sue Sylvester's performance of "Super Bass" (15:01), despite many fans considering it one of the show's worst covers (15:36).
Florence Welch (15:53) of Florence + The Machine was thrilled with the cover of "Dog Days Are Over" (16:20), calling it an "amazing Christmas present" (16:36).
Miley Cyrus (17:05) expressed her distaste for Glee (17:47), musicals, and even pop music in general (17:51).
Kesha (18:11) praised the performance of her debut single "Tik Tok" (18:32), despite finding the "alien puke" scene confusing (18:56).
Amy Winehouse (19:21) was a surprising fan of Glee, tweeting about her love for the show and commending the Vocal Adrenaline cover of "Rehab" (20:03).
In this video, Anthony Fantano, the internet's busiest music nerd, discusses and argues about various user-submitted "best and worst love songs of all time." He shares his thoughts and opinions on each song, often adding personal anecdotes or musical insights.
Here's a breakdown of the songs and his commentary:
"This Must Be the Place (Live)" by Talking Heads (1:10-1:55): Fantano praises David Byrne's idiosyncratic lyrics and the playful groove of the live performance, calling it unique among romantic ballads.
"Lover, You Should've Come Over" by Jeff Buckley (1:58-2:54): He acknowledges Buckley's immense influence and vocal talent, noting how his expressive voice naturally lends itself to romance, even for a non-fan.
"Kiss from a Rose" by Seal (2:55-3:42): Fantano humorously highlights its inclusion in a Batman movie and commends Seal's "incomparably great vocals" and unique piano passages.
"Pagan Poetry" by Björk (3:58-4:40): He finds the song intensely emotional, magical, and mystical, especially the repeated "I love him" lines, which he feels capture the essence of love.
"God Only Knows" by The Beach Boys (4:41-5:36): Fantano believes this song universally resonates, particularly in expressing deep, long-term appreciation for someone's impact on one's life.
"Kiss of Life" by Sade (5:38-6:02): He describes the song as infinitely sensual, warm, and sweet, agreeing that Sade's music often lends itself to being considered among the best love songs.
"In My Life" by The Beatles (6:03-6:39): While not a personal favorite, he respects the song's sentiment of embracing new love while fondly remembering old, a balance rarely achieved in love songs.
"I Will Follow You into the Dark" by Death Cab for Cutie (6:41-7:06): Fantano acknowledges its bittersweet, melancholic vibe typical of the band but prefers The Postal Service's "Give Up" for love-themed tracks by Ben Gibbard.
"Take Me Back" by Miles and Anthony Fantano (7:29-7:49): He briefly mentions his own song, noting the "wonderful intent" behind the lyrics.
"Love Song" by The Cure (7:56-8:56): Fantano comically rejects this as a "driving at night with your significant other song," instead jokingly crediting Drake for the best "Drake and Drive" anthems.
"Never Too Much" by Luther Vandross (8:59-9:53): He praises its funkiness, hyperbolic lyrics, and Luther's refreshing vulnerability in expressing love.
"What You Won't Do for Love" by Bobby Caldwell (9:56-10:07): Fantano calls this a "banger" that also rides a "funkier line."
"It's Okay to Cry" by SOPHIE (10:07-10:23): He highlights this as a song about self-love, which he deems "the best kind of love."
"Hey Soul Sister" by Train (10:28-11:00): Fantano declares this the "worst love song," calling it "really annoying" and an "eject button" for someone with good music taste.
"Close to You" by The Carpenters (11:01-11:18): He finds it perfectly sweet, tender, and praises Karen Carpenter's close-to-mic vocals, noting it’s about how a person makes the world better.
"Bluish" by Animal Collective (11:43-12:54): Fantano appreciates its watery, trippy production and its portrayal of infatuation with a person's details, praising the band's ability to create beautiful yet decipherable strange sounds.
"The Louvre" by Lorde (12:55-13:22): He admires its beautiful and clever reflection of young, obsessive summer love, praising its production and structure.
"Heal Mode" by Jeff Rosenstock (13:48-14:21): Fantano sees it as a hopeful song that captures the pandemic-era feeling of dread being overtaken by love.
"The Moon" by The Microphones (14:22-14:59): He describes it as one of the most beautiful songs ever, with fantastic instrumentation and interesting lyrics about trying to forget a failed relationship.
"Ryderz" by Hudson Mohawke (15:00-15:20): Fantano praises this instrumental track for radiating so much "love energy" and getting his "hips moving."
"Everlong" by Foo Fighters (15:21-15:33): He notes its hard-rocking yet intimate and vulnerable nature.
"I Know" by De La Soul (15:34-16:15): Fantano calls it one of hip-hop's most charming and sweet love songs, highlighting De La Soul's unique, approachable style.
"To Fall in Love" by Navy Blue (16:26-16:44): He commends its description of a long-term, intimate romantic relationship.
"Layla" by Derek and the Dominos (16:45-17:41): Fantano has complicated feelings about this song, describing its production as depicting intense love switching to desperation and chaos, signifying "love sickness."
Bad Bunny is scheduled to perform at the Super Bowl halftime show, a decision that has sparked controversy (0:00). Despite conservative backlash, the NFL is standing by its choice, emphasizing unity and creativity (3:30). Bad Bunny's Grammy win was historic, as his album was the first entirely in Spanish to win the award (1:43). He continues to break records, being the most streamed artist on Spotify for four years (2:07).
Key points about Bad Bunny and the Super Bowl:
Cultural Representation: Bad Bunny aims to bring a lot of his Puerto Rican culture to the stage, encouraging people to "learn to dance" rather than Spanish (0:08).
Artistic Impact: His music connects with fans on various levels, including party anthems and songs addressing social and political issues, particularly concerning Puerto Rico (3:00). His album "De Maspoto" is described as a love letter to his home (3:14).
Political Stance: Bad Bunny has been outspoken against the Trump administration's handling of immigration and Hurricane Maria in Puerto Rico, as well as on trans issues (4:41).
Economic Influence: His concerts have significantly impacted Puerto Rico's economy, with hundreds of thousands of visitors flocking to the island and generating hundreds of millions of dollars (6:55).
Conservative Opposition: Some conservatives view his performance as "un-American" due to his political views and use of Spanish, and there are calls to boycott the show (7:45). However, the video clarifies that Bad Bunny is a U.S. citizen (9:20) and commercially, his choice makes sense for the NFL due to his immense popularity (5:22).