Lyrics
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Fuerza Regida is creating a buzz on social media with its latest release “Sabor Fresa,” which translates to “strawberry flavor.”
In the new corrido, the Mexican-American group chants about being a lady’s man and attracting the prettiest girls in town. In the NSFW music video, lead vocalist Jésus Ortiz Paz (JOP) is seen channeling a plastic surgeon who works at day and parties with his clients at night.
To back up the song and video’s concept, JOP even launched a BBL (Brazilian Butt Lift) giveaway on TikTok, encouraging fans to use the #SaborFresa sound and hashtag to participate.
But beyond its witty lyrics, catchy rhythm and the giveaway, “Sabor Fresa” debuts at No. 3 on Billboard‘s Hot Latin Songs chart, becoming the group’s highest debut to date, and its third top 10.
Below, check out the full lyrics translated to English:
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Waiter, bring champagneThat I want to please the ladies in the backThey already saw me dancingWith the moves I have, I was able to impress them
The girls are qualityWith a small waist, they like to dance sexyThe lady kisses and kisses meStrawberry, strawberry flavor, she wants to get dirty
How do you see it, my comradeIf we go to the pool?Let them take off their expensive clothesConfirm it, carnal, we managed to crown
I like to hang out with the crewLots of operated, preppy girlsLet them take off their expensive clothesWe don’t quit here, always at war
How is it morning already?Darn poison, it has me sleeplessAn aguachile (Mexican dish) at the portFrom Muchacho Alegre, they open for me whenever
I already confessed to the rosaryMijo, you are great, walk without fearDon’t get wavy on meBecause I don’t think about it nor does my finger tremble
How do you see it, my comradeIf we go to the pool?Let them take off their expensive clothesConfirm it, carnal, we managed to crown
I like to hang out with the crewLots of operated, preppy girlsLet them take off their expensive clothesWe don’t quit here, always at war
And here are the original Spanish lyrics:
Mesero, traiga champagneQue quiero complacer las babies de atrásYa me vieron al bailarCon el paso que cargo logré apantallarLas morras de calidadCon una cinturita, les gusta perrearLa niña me besa y besaFresa, sabor fresa, quiere bellaquear
¿Cómo la ve, mi camaradaSi nos vamos pa’ la albercada?Que se quiten la ropa caraAfírmale, carnal, logramos coronarMe gusta andar con la plebadaPuras fresitas operadasQue se quiten la ropa caraAquí no le bajamos, siempre beliqueando
Otro pedoComo siempre viejoFuerza Regida
¿Cómo que va amaneciendo?Bendito veneno, me tiene sin sueñoUn aguachile en el puertoDe El Muchacho Alegre, me abren cuando quieroYa me confesé el rosarioMijo, tú eres grande, camina sin miedoNo se me pongan ondeadosPorque no la pienso ni me tiembla el dedo
¿Cómo la ve, mi camaradaSi nos vamos pa’ la albercada?Que se quiten la ropa caraAfírmale, carnal, logramos coronarMe gusta andar con la plebadaPuras fresitas operadasQue se quiten la ropa caraAquí no le bajamos, siempre beliqueando
Ahuevo viejoFui, soy, y seguiré
Lyrics licensed & provided by LyricFind
Lyrics © Warner Chappell Music, Inc.
Written by: Angel Ureta, Daniel Gutierrez, Diego Millan, Jesus Ortiz Paz, Jonathan Caro, Miguel Armenta
Peso Pluma is making the rounds with his new album Génesis, home to 14 tracks that include collaborations with Natanael Cano and Luis R. Conriquez, to name a few, and the previously released bangers “Rosa Pastel” with Jasiel Nuñez, the Eladio Carrión-assisted “77,” and “Bye.”
From the set, one of the most popular tracks among fans is “Lady Gaga,” his collaboration with Junior H and newcomer Gabito Ballesteros. The song tells the story of a luxurious lifestyle with lots of money, beautiful women and private yachts, but that’s kept under the radar.
With less than one day of activity, following its off-cycle release late on Thursday, June 22 (the final day of the chart’s tracking week), Génesis scored Peso his first top 10 entry on the Regional Mexican Albums chart.
Below, check out the translated lyrics and the Spanish lyrics to “Lady Gaga”:
Don Perignon Lady Gaga, Glasses on the faceDrugged and washed Tripled washed, and a bandit who calls me, she wants my moneyAnd it’s not bad because she seduces me like an animalNo one uploads anything to Instagram, they just enjoy, they just enjoy
A bunch of flashy influencers, the ones we sail and flyOn private islands on a yacht, we flip the dollar bills, and without YolandaI’m going to party, little pink powder, little wax featherThat waist is worth 30k, you can’t pay it, you can’t afford itLiving in the San Andreas, but for realCars and moneyThose stars got my code, they challenged meDrugs and cocaine, I like the Lambo but I use the MercedesShe is very beautiful and she lets herself be loved, she likes hundreds and wants my Cartier
Eleven, lucky number seven Well alert and we’re going strongBuzzing in the RZR, masks, dust, and vibeMy teeth shineI’m not preppyBut in Egypt, I smoke shishasFor fresh seafood, JapanTira jodido, lira jodidónMakabelico playing, the blonds dancing with a delinquent beatA bunch of hooded bellicose chicksNothing happens, no one stops themWho are they? I ask myself the same questionEach salute carries big moneyAll in Louis Vuitton with a heck of a flow
Don Perignon Lady Gaga, Glasses on the faceDrugged and washed Tripled washed, and a bandit who calls me, she wants my moneyAnd it’s not bad because she seduces me like an animalNo one uploads anything to Instagram, they just enjoy, they just enjoy
Original Spanish lyrics to “Lady Gaga”:
Dom Pérignon, Lady Gaga, lentes en la cara, tussi y lavadaTriple lavada, y una bandida que me llama, quieren mi lanaY no está mal, porque me seduce como animalNinguna sube nada al InstagramSolo disfrutan, solo disfrutan
Pura influencer bien placosa, las que navegamos y las volamosIslas privadas en yate, tronamos las pacas y sin YolandaMe vo’a enfiestar, polvito rosa, plumita de waxEsa cintura vale 30k, no puedes pagar, no te va a alcanzar
Viviendo en el San Andrés, pero de a deberas, carros y feriaTres estrellas me atoraron la clave en caliente, desafanaronTussi y cocaineMe gusta el Lambo, pero es el MercedEsa es muy bella y se deja quererLe gustaría si alguien quiere mi Cartier
Oh-oh-oh-oh-oh-oh, ahAh-ah-ah-ah-ah-ah, ah
Y así nomás, compa Peso, compa JuniorCompa Gabito, Doble P, uh, cha-chauPura Doble P, viejilloQue siga la mata dando, compa JuniorCompa Gabito
Once, número de suerteSiete bien pendientes y andamos fuertesZumbando en el Razer, máscaras, polvo y ambienteBrillan mis dientesNo soy fresón, pero en Egipto shishas fumo yoPara mariscos frescos en JapónMira jodido, ‘ira, jodidón
Makabelico sonando, las güeras bailando con beat malandroPura encapuchada bélica, no pasa nada, nadie las paga¿Que quiénes son? Eso mismito me pregunto yoCada saludo lleva un billetónPura Louis Vuitton, trae un flow cabrón
Dom Pérignon, Lady Gaga, lentes en la cara, tussi y lavadaTriple lavada, y una bandida que me llama, quiere mi lanaY no está mal, porque me seduce como animalNinguna sube nada al InstagramSolo disfrutan, solo disfrutan
Oh-oh-oh-oh-oh-oh, ahAh-ah-ah-ah-ah-ah, ah
Lyrics licensed & provided by LyricFind
Lyrics © Downtown Music Publishing
Written by: Antonio Herrera Perez, Hassan Emilio Kabande Laija, Gabriel Ballesteros
The U.S. Supreme Court said Monday that it would not take up a lawsuit claiming Google stole millions of song lyrics from the music database Genius.
Genius — a popular platform that lets users add and annotate lyrics — had asked the justice to revive allegations that Google improperly used the site’s carefully-transcribed content for its search results. The company argued that a ruling dismissing the case last year had been “unjust” and “absurd.”
But in an order dated Monday, the court denied Genius’s petition to hear the case, cementing Google’s victory. As is typical, the court did not issue a written ruling explaining the denial. Such petitions are always a long shot, as the Supreme Court takes less than 2% of the 7000 cases it receives each year.
Genius sued the tech giant in 2019, claiming Google had stolen the site’s carefully-transcribed content for its own “information boxes” that appear alongside search results — essentially free-riding on the “time, labor, systems and resources” that go into creating such a service. In a splashy twist, Genius said it had used a secret code buried within lyrics that spelled out REDHANDED to prove Google’s wrongdoing.
Though it sounds like a copyright case, Genius didn’t actually accuse Google of stealing any intellectual property. That’s because it doesn’t own any; songwriters and publishers own the rights to lyrics, and both Google and Genius pay for the same licenses to display them. Instead, Genius argued it had spent time and money transcribing and compiling “authoritative” versions of lyrics, and that Google had breached the site’s terms of service by “exploiting” them without permission.
In March 2022, that distinction proved fatal for Genius. The U.S. Court of Appeals for the Second Circuit dismissed the case, ruling that only the actual copyright owners — songwriters or publishers — could have filed such a case, not a site that merely transcribed the lyrics. In technical terms, the court said the case was “preempted” by federal copyright law, meaning that the accusations from Genius were so similar to a copyright claim that they could only have been filed that way.
In taking the case to the Supreme Court, Genius argued the ruling would be a disaster for websites that spend time and money to aggregate user-generated content online. Such companies should be allowed to protect that effort against clear copycats, the company said, even if they don’t hold the copyright. “Big-tech companies like Google don’t need any assists from an overly broad view of copyright preemption,” the company wrote.
But last month, the U.S. Solicitor General advised the Supreme Court to steer clear of the case. It said Genius’s lawsuit was a “poor vehicle” for reviewing the issues in the case, and that the lower court did not appear to have done anything particularly novel when it dismissed the case against Google. Such recommendations are usually very influential on whether the justices decide to tackle a particular case.
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Lawmakers in New York have introduced a new bill that will prohibit the use of rap lyrics in criminal trials as evidence by prosecutors – an issue recently highlighted across the nation.
In January of this year, New York State Senator Brad Hoylman-Sigal and Assemblymember Catalina Cruz brought forth S1738, known as the “Rap Music on Trial” bill. The goal of the bill is to prevent prosecutors in criminal trials from using lyrics from songs by the defendant in those trials as proof of guilt for the crimes they’re charged with. “Protecting artistic freedom and expression is paramount for our country, but in particular New York City, where we are the cultural capital of the world,” Hoylman-Sigal said to the press. “Rap music has been targeted by prosecutors, mainly because it would seem that there’s racial bias.”
The bill wouldn’t be isolated to only rap music, but the music genre has been the most targeted by prosecutors in cases across the country as social media has made sharing rap videos easier with a farther reach. An essay in the New York Times last year detailed the timeline for the increase of rap lyrics being used since 2005. The RICO case brought against Young Thug in Georgia is currently the most prominent example as lyrics from nine of his songs were cited in the indictment.
Governor Gavin Newsom of California signed the Decriminalizing Artistic Expression Act into law last September. Congressman Jamaal Bowman of New York and Hank Johnson of Georgia re-introduced the Restoring Artistic Protection, or RAP Act to the House of Representatives in April. That bill has not gone beyond a referral to the House Judiciary Committee.
An earlier version of New York’s state bill was introduced in 2021 with heavy support from artists including Jay-Z, Big Sean, and Meek Mill among others. But it didn’t advance to being passed in the Assembly. The hope is that the current bill will pass this current session, which ends on Thursday (June 8th). The state Senate did approve S1738 on May 15th, which Hoylman-Sigal said gives a “boost of confidence and momentum” that it will make it to Governor Kathy Hochul to be signed into law.
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Marshmello has achieved his first-ever No. 1 entry on the Billboard Latin Airplay chart (dated June 9) with his Manuel Turizo-assisted “El Merengue,” becoming the first non-Latin genre artist to top the chart in 2023.
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The infectious EDM-merengue fusion, which dropped on March 2, finds Turizo singing about not getting over an ex and drinking his sorrows away.
Additionally, “El Merengue”—named after the traditional Dominican music genre—reached No. 1 on Billboard’s Tropical Airplay chart (dated April 8). The song sent Turizo’s own “La Bachata” to No. 2 after 14 weeks in charge.
Below, check out the complete lyrics translated into English:
I’m tired of thinking about youWith my heart brokenThere’s sun but it’s cold since you leftI’m only drinkingLooking at your photosWanting to delete them but I can’t
I should’ve said I’m sorryTo not hold anything backThe kisses I didn’t give youI should’ve stolen them from youMissing you has meWith my eyes redIt’s not the same as being aloneThan being alone and in love
I said I forgot about youBut I didn’t forget youAy, ay, ayI also said I got over youBut I haven’t gotten over youDrunk I said I forgot about youBut I didn’t forget youAy, ay, ayI also said I got over youBut I haven’t gotten over you
Entering the club, I saw her, I saw her, I saw herShe was dancing aloneDancing aloneI got close, I got close, I got closeAnd the hours flew byA couple of hours
Tell me, without shame tell meAsk me whatever you want Except to forget about youWhen one is drinkingThey don’t measure words Today I apologizeIf one day drunk
I said I forgot about youBut I didn’t forget yoAy, ay, ayI also said I got over youBut I haven’t gotten over youDrunk I said I forgot about youBut I didn’t forget youAy, ay, ayI also said I got over youBut I haven’t gotten over you
Entering the club, I saw her, I saw her, I saw herShe was dancing aloneDancing aloneI got close, I got close, I got closeAnd the hours flew byA couple of hours
For his 55th “Bzrp Music Session,” out May 31, Bizarrap reeled in viral newcomer Peso Pluma. Unlike the previous Biza sessions, which are usually diss tracks backed by hip-hop and EDM fusions, the new collaboration finds both the Argentine producer and Mexican artist in a heartbreak corrido about trying to get over an ex. “I’m […]
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The Restoring Artistic Protection Act, largely known as the RAP Act, was previously introduced by Congressmen Hank Johnson (GA-04) and Jamaal Bowman (NY-16). If signed into law, the RAP Act would offer artists some protections regarding their lyrics being used to try a criminal case in court.
On April 28, Congressmen Johnson and Bowman issued a press release announcing their attention to bring the RAP Act bill back to the House floor for debate. The bill was introduced in the 117th Congress and is the first of its kind to reach the federal level.
From the press release:
“This legislation is long overdue,” said Congressman Johnson. “For too long, artists – particularly young Black artists – have been unfairly targeted by prosecutors who use their lyrics as evidence of guilt, even though there is no evidence that the lyrics are anything more than creative expression. When you allow music and creativity to be silenced, you’re opening the door for other realms of free speech to be curtailed as well. The government should not be able to silence artists simply because they write, draw, sing, or rap about controversial or taboo subjects. The Restoring Artistic Protection Act (RAP Act) would protect artists’ First Amendment rights by limiting the admissibility of their lyrics as evidence in criminal and civil proceedings.”
“Rap, hip-hop and every lyrical musical piece is a beautiful form of art and expression that must be protected,” said Congressman Jamaal Bowman Ed.D. (NY-16). “I am proud to introduce the RAP Act alongside Rep. Hank Johnson. Our judicial system disparately criminalizes Black and brown people, including Black and brown creativity. For example, Tommy Munsdwell Canady is a young 17-year-old kid serving a life sentence whose conviction heavily relied upon lyrics he wrote. I was deeply moved to hear that Mr. Canady continues to pursue his art in the face of our carceral systems that would otherwise stifle Black art. He is not an outlier. Evidence shows when juries believe lyrics to be rap lyrics, there’s a tendency to presume it’s a confession, whereas lyrics for other genres of music are understood to be art, not factual reporting. This act would ensure that our evidentiary standards protect the First Amendment right to freedom of expression. We cannot imprison our talented artists for expressing their experiences nor will we let their creativity be suppressed.”
The press release added that over 500 criminal cases have used rap lyrics in court against defendants.
A bevy of music industry figures, such as Kevin Liles and groups like the Black Music Action Coalition have placed their support behind the RAP Act bill.
The press release can be viewed here, along with the bill.
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Photo: Getty
When two ‘perfect worlds’ join forces, a new heartbreak anthem gets delivered. On Monday (April 17), Grupo Frontera and Bad Bunny officially dropped “un x100to” (one percent) after Benito showed off his cumbia-dancing skills on his TikTok account before a surprise announcement posted on Sunday (April 16) afternoon.
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Produced and composed by Latin hitmaker Edgar Barrer, the romantic cumbia-norteño — backed by the captivating percussion and an accordion melody, and Grupo Frontera’s signature tunes — narrates the story of a person who misses their ex and makes a phone call with one percent of battery left on their phone.
Below, read the full lyrics translated into English.
I have 1% leftAnd I’ll use it to tell you how sorry I am.That if they see me with another at a club, I’m just wasting timeBaby, why am I lying to you?That they saw me happy is not true
nothing makes me laugh anymoreOnly when I see the photos and videos I have of youI went out with another to forget you, and she had the perfume that you likeI light it up to go to sleepBecause I sleep better if I dream that you are hereIf you knew that I wrote to youI have not sent the messages, they are all still thereWow, how much it has cost meMaybe I did you a favor when I left your sideDrunk looking at your photos. It hurts to see that you have improvedYou don’t have gray days, and the scars no longer hurtAnd I am thinking whether to tell you that
I have 1% leftAnd I’ll use it to tell you how sorry I am.That if they see me with another at a club, I’m just wasting timeBaby, why am I lying to you?That they saw me happy is not true, (hey)
I haven’t thought about you in a long timeDrunk, your Insta I checkedBaby, I already know that you are doing wellThat you don’t have to know about me, hey, heyLiving in a hell that I set on fire myselfPlaying with you as if it were the tenI feel that I am no longer in your heart, now I am at your feet’Begging you, drowning in tequilaThe boys’ are asking me outI have a good time, but I always end up missing youDrowning in tequila, hey‘Las morritas’ texting me, heyWhere is the peda today, but
I have 1% leftAnd I’ll use it to tell you how sorry I am.That if they see me with another at a club, I’m just wasting timeBaby, why am I lying to you?That they saw me happy is not true, (hey)
And this is Grupo FronteraAnd the ‘compa’ Bad Bunny
The music industry is mourning the sudden death of actor and singer Julián Figueroa, son of the late Mexican star Joan Sebastian and Costa Rican actress Maribel Guardia. Figueroa died Sunday in Mexico City at the age of 28 — just one day after what would have been Sebastian’s 72nd birthday.
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In an Instagram post, Guardia said Figueroa was found unconscious in his room while she was at the theater. “They called 911 and when the ambulance and police arrived, they found him already lifeless, with no traces of violence. The medical report indicates that he died of acute myocardial infarction and ventricular fibrillation,” she said.
Figueroa, who was known for songs such as “Pídeme,” “Volaré” “and Cómo Olvidar,” had a close relationship with his father, which could be reflected in one of his last Instagram posts.
“How slowly 8 years have gone by since the day you left time tastes more bitter. And people proclaim that time is a fix for everything, but this is a vile lie, it hurts more every day, and this is without fear of hurting sensibilities,” the artist wrote, next to a photo of himself as a child with his father.
Sebastian, who died in 2016 after a long battle with bone cancer, had eight children with five different women. His love for his children often shined in his music like in “Julián,” the song he wrote for Figueroa 23 years ago.
The lullaby-like, waltz-inspired track — part of his Secreto de Amor album that spent nine weeks at No. 1 on the Regional Mexican Albums chart in 2000 — finds Sebastian dedicating sweet words of love, appreciation and promises to his then-5-year-old son.
Below, listen to the sweet track, followed by the lyrics translated into English:
When you were a child JulianYou asked me to write a song that saidWhat I feel for you
That’s not easy, JulianAlthough I wrote a thousand songsThe most beautiful thing about love, JulianIs carried in the hearts
And this waltz is for you, for you, JulianDance it, enjoy it from beginning to endAt your graduation and your wedding dayAnd this waltz is for you, for you, JulianI will be celebrating tooFrom a corner, I will be watching you dance
When you were a child JulianGod was very good to meHe gave me the honor of being, JulianOf being your father and your friend
And this waltz is for you, for you, JulianDance it, enjoy it from beginning to endAt your graduation and your wedding dayAnd this waltz is for you, for you, JulianI will be celebrating tooI promise I will be watching you dance
Lana Del Rey is back in all her glory on her latest album, Did You Know That There’s a Tunnel Under Ocean Blvd, a 16-track victory lap around a remarkable career apex that’s lasted for years and doesn’t seem to be coming to an end any time soon.
It’s been said before, but the March 24-released record is peak Lana: sprawling melodies, caustic lyrics perfumed with wilted roses and cigarette smoke, and most importantly, little regard for pop music’s rules. It’s her ninth studio album and third solo LP in two years — a feat she chose to create with seasoned collaborators Jack Antonoff, Mike Hermosa and Drew Erickson — unshakeable proof that while a generation of aspiring anti-pop stars may try to mimic her complexity, Del Rey will always be inimitable.
“Eleven years ago I wanted it to be so good,” this year’s Women in Music Visionary Award honoree told Billboard earlier this year. “Now, I just sing exactly what I’m thinking. I’m thinking a little less big and bombastic. Maybe at some point I can have fun creating a world again, but right now, I would say there’s no world building. This music is about thought processing. It’s very, very wordy. I’m definitely living from the neck up.”
She really wasn’t kidding when she said she’s leaning wordier than ever, by the way. The tracks on Ocean Blvd often stretch longer than five minutes, no trace of a filler lyric in sight, packed with vulnerable lamentations on family, legacy and duty, in addition to her usual noir musings on love and sex.
Keep reading to see Billboard‘s 10 favorite lyrics from Lana Del Rey’s new record below, in no particular order.
“The Grants”
Lyric: “My pastor told me when you leave, all you take is your memory/ And I’m gonna take minе of you with me”
Why It’s So Great: Not only is this lyric just a simple, beautiful way of saying “I love you,” it’s also a sweet evolution of one of the lines in Lana’s 2013 Great Gatsby hit “Young and Beautiful”: “Dear Lord, when I get to heaven/ Please let me take my man.”
“The Grants,” however, isn’t just about romantic love — it’s about family, friends and lineage, something that makes the sentiment even more layered and meaningful. This Lana also sounds more self-assured than the 2013 version who begs and barters with God, this time staring her maker in the face without so much as a blink of fear.
“Did You Know That There’s a Tunnel Under Ocean Blvd”
Lyric: “I can’t help but feel somewhat like my body marred my soul/ Handmade beauty sealed up by two manmade walls”
Why It’s So Great: Lana’s ninth record may have earned some chuckles when its atypically lengthy name was first announced, but the title track really does pull together the entire album with one simple metaphor, explained by this lyric. It’s her, she’s the bridge under Ocean Blvd — tarnished by trauma, insecure spots in the overall structure, but standing strong nonetheless.
“Sweet”
Lyric: “If you wanna go where nobody goes/ That’s where you’ll find me/ In the sweet north country”
Why It’s So Great: It’s an effortless reference to Bob Dylan’s “Girl from the North Country,” but it’s also a romantic, picturesque way for the singer-songwriter to take pride in who she really is: a beautifully misunderstood loner who won’t compromise herself for the basic trappings of a humdrum life. You either meet her where she’s at, or lose her for good.
“A&W”
Image Credit: Lia Clay Miller
Lyric: “Your mom called, I told her, you’re f–kin’ up big time”
Why It’s So Great: “A&W,” which stands, yes, for “American whore,” is one of Lana’s greatest feats of innovation, marked by two distinct halves. The grim, lyrical first section deteriorates into a devilish, hedonistic free-for-all, guided by this simple, repeating, wonderfully bratty lyric.
“Fingertips”
Lyric: “Find your astral body, put it into my arms/ Give you two seconds to cry/ Take you home, I’ll give you a blanket/ Your spirit can sit and watch TV by my side”
Why It’s So Great: This six-minute stream of consciousness touches on grief, family, heartbreak and trauma. There’s plenty of great lines, but the most beautiful one has to be this one. Lana brilliantly illustrates the pain of longing to simply sit next to a loved one who’s passed away by juxtaposing the spiritual with the ordinary.
“Grandfather Please Stand on the Shoulders of My Father While He’s Deep‐Sea Fishing”
Lyric: “I know they think that it took thousands of people/ To put me together again like an experiment/ Some big men behind the scenes/ Sewing Frankenstein black dreams into my songs/ But they’re wrong”
Why It’s So Great: She’s has spoken at length before about the criticisms she’s received since the very beginning of her career, many of which questioned her artistic authenticity and message. With this lyric, she asserts her power and influence with all the confidence she deserves.
“Fishtail”
Lyric: “I see in technicolor/ Maybe I’ll take my glasses off so I stop painting red flags green”
Why It’s So Great: The artist often plays with color in her songs — “You’re just a man … head in your hands as you color me blue” on Norman F–king Rockwell, for instance — this song being no exception. On “Fishtail,” she cleverly and calmly confronts her own tendency to romanticize people who don’t deserve it.
“Kintsugi”
Image Credit: Lia Clay Miller
Lyric: “I can’t say I run when things get hard/ It’s just that I don’t trust myself with my heart/ But I’ve had to let it break a little more/ ‘Cause they say that’s what it’s for”
Why It’s So Great: This line — and most of the song, for that matter — serves as a beautiful, timeless little metaphor. Like cracked pottery, the breaks in her heart are what “let the light in” despite of the pain they initially caused. (Kintsugi is the Japanese practice of repairing broken ceramics in a way that celebrates the flaws.)
“Sweet”
Lyric: “Do you want children? Do you wanna marry me?/ Do you wanna run marathons in Long Beach by the sea?/ I’ve got things to do, like nothing at all/ I wanna do them with you/ Do you wanna do them with me?”
Why It’s So Great: This sentimental lyric echoes the heart-shatteringly simple line from Everything Everywhere All At Once: “In another life, I would have really liked just doing laundry and taxes with you.”
“A&W”
Lyric: “Did you know a singer can still be/ Looking like a sidepiece at 33?/ God’s a charlatan, don’t look back, babe”
Why It’s So Great: The greatest, most Lana-esque way ever of saying “I’m super hot.” Cheers.