{"id":13493,"date":"2026-02-06T23:52:26","date_gmt":"2026-02-07T04:52:26","guid":{"rendered":"https:\/\/wecb.live\/?p=13493"},"modified":"2026-03-09T12:01:28","modified_gmt":"2026-03-09T16:01:28","slug":"staff-pix-2-7-2016","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/staff-pix-2-7-2016\/","title":{"rendered":"Staff Pix 2\/7: 2016"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\"><strong>&#8220;Don&#8217;t Hurt Yourself&#8221; By Beyonc\u00e9, Jack White<\/strong><\/h2>\n\n\n\n<p>On \u201cDon\u2019t Hurt Yourself\u201d, Beyonc\u00e9 first asks \u201cWho the fuck do you think I is?\u201d before telling her \u201cboy\u201d that he can watch her fat ass twist as she bounces to the next dick. BOOM!!! 2016 was Beyonc\u00e9\u2019s year to be pissed and \u201cDon\u2019t Hurt Yourself\u201d&nbsp; is pure uninhibited anger\u2014lyrics trail off in screams and shrieks rather than classic vocal runs, cymbals crash and rattle, there\u2019s dissonant wailing in the background. In between comparing herself to a dragon, a lion, and Malcom X, Beyonc\u00e9 lets us know that she\u2019s aware we cheated on her (\u201cI smell that fragrance on that Louis knit, boy\u2026\u201d) and if we mess with her again we\u2019re basically gonna die (\u201cThis is your final warning \/ you know I give you life\/ If you try this shit again \/ you gon\u2019 lose your wife\u201d). While \u201cDon\u2019t Hurt Yourself\u201d is not like any other Beyonc\u00e9 song (yet!), it\u2019s surely a standout on what is possibly the most iconic album <s>ever<\/s> of 2016.&nbsp;<strong>&#8212; Lauren Williams<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Don&amp;apos;t Hurt Yourself (feat. Jack White)\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/78eouBKVRyhbSzJwChr6QM?si=744fa8b4e9054cad&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>&#8220;Closer&#8221; by The Chainsmokers, Halsey<\/strong><\/h2>\n\n\n\n<p>Ah, 2016. For ten years, people have been hoping for one just like 2016 thanks to a nostalgia whose intensity won\u2019t quit: think of the thousands of frozen yogurt shops, Musical.ly, and the rose gold iPhone 6 and tell me it wasn\u2019t the best year ever. The air was crisp, all of our glasses were rose-tinted, and Halsey had one chance to make it big. She struck (rose) gold with her feature on \u201cCloser\u201d by The Chainsmokers and you probably still know every lyric from the first line, \u201cHey, I was doing just fine before I met you,\u201d or the song\u2019s 12-week run on the Billboard Hot 100. As a major contribution to 2016\u2019s radio with more than three and a half <em>billion<\/em> streams today, \u201cCloser\u201d stands stronger than simply nostalgia bait for 2016; the song is a solid hit whose catchy, tumbling lyricism and EDM synth draws you in like magnetized karaoke. Halsey is the star (I unfortunately couldn\u2019t name either member of The Chainsmokers duo if you asked me to\u2026) and makes \u201cCloser\u201d more than just a 2016 hit with Boulder, Tucson, and blink-182 shoutouts\u2014it\u2019s a summer anthem whose narrative currents of fleeting flings, living in the moment, and youthful freedom make it the perfect new addition to your on-repeat playlist in 2026.   <strong>&#8212; Heather Thorn<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Closer\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/7BKLCZ1jbUBVqRi2FVlTVw?si=2b3f686b39e04f9f&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>&#8220;In Heaven&#8221; by Japanese Breakfast<\/strong><\/h2>\n\n\n\n<p>For me, 2016 was the year that I only wore beat up combat boots and filled several Strathmore sketchbooks with drawings of gel pen cats. For Michelle Zauner, it was the year that she released her first album <em>Psychopomp <\/em>under her new band, Japanese Breakfast. Technically, I didn\u2019t find Japanese Breakfast until a year later in 2017\u2013but both year\u2019s summers featured flutters of indie-pop that would color my music taste throughout my teenage years, and \u201cIn Heaven\u201d is a necessary part of that lineup. \u201cIn Heaven\u201d is an ode to Zauner\u2019s mother, who passed away from cancer two years prior to its release. The song is a somber exploration of grief, but the light and ethereal instrumentals sound like sitting in the backseat of my dad\u2019s car, wired headphones playing YouTube indie playlists and the sun beating down on my little face as I dreamt about being an adult and living in the city. Several years later, in 2025, adult me finally saw the song played live at Brooklyn Paramount\u2013Zauner stood in a large prop clamshell, singing her lament. And I, still wearing beat up leather boots, cried and sang along. <strong>&#8212; Julia Schramm<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: In Heaven\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/33HK3AInjJCqMrCHN2Kg5g?si=2091b1e994c44aa1&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>&#8220;Cosmic Hero&#8221; by Car Seat Headrest<\/strong><\/h2>\n\n\n\n<p>Car Seat Headrest, while known best for their melancholic wail, have always starkly resisted a one note oeuvre. The deep lows of songs off an album like Twin Fantasy require equally palpable highs. Highs provided in ample supply on the band&#8217;s 2016 record, Teens of Denial. This force is no more present than in the album\u2019s second track, \u201cVincent.\u201d The track warms up with an echoey trailing roof soon giving way to the song\u2019s chugging engine, the lengthy peals of guitar which vamp from high to low in stringing wavelengths coloring the entirety of the track, the motif only finding reprieve in a drum break kicking at 5:34, more than halfway through the runtime! This section is key to the movement, its unceasing form lulling listeners into a trance allowing more frantic overtones to greater influence the mood of the track, with Toledo\u2019s leading voice as finishing touches, spouting lyrics evoking points of no return and runaway relationships, perfectly complimenting the established feeling, only coming to a close with a final cut, contrasting the previously swelled energy, as if not just the singer but the band as a whole have suddenly veered off the highway and crashed into a tree. Toledo wrings the last bits of music out of the track with flat intonation on the final words of the final lyrics, \u201cnow I have nothing to say,\u201d trailing off with little pomp or compliment, a stark end to charged motion as Car Seat Headrest\u2019s \u201cVincent\u201d comes to a close. <strong>&#8212; Declan Ireland<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Cosmic Hero\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/4betb65mmasNTzNOhWHc4z?si=db5c7b2ed3ba4b28&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>&#8220;Somebody Else&#8221; by The 1975<\/strong><\/h2>\n\n\n\n<p>2016 was the year I fell in love with what I deemed as \u201calternative\u201d music. Every ride to school consisted of me nagging my mom, begging her to turn on \u201c107.7 The End\u201d (Seattle\u2019s only alternative station) and only letting up when the synth of an unavoidable The 1975 track would play. It was \u201cSomebody Else\u201d that really captured my attention. I was initially transfixed by Matty Healy\u2019s nasally warble and quickly fell in love with his trademark rasp and occasionally audible voice crack. For 10-year-old me, it was the ideal backing track for imagining I was in some sort of coming-of-age film (despite the fact I was barely reaching double digits), imaginations that were highly influenced by films like Me and Earl and the Dying Girl (2015) and Sing Street (2016). It\u2019s a track that has consistently soundtracked my life, and no longer by choice. It seems to follow me into every Uber, every grocery store, every single concert turnover. \u201cSomebody Else\u201d is the epitome of 2016, dazzled in synthy production just vibrant enough to dance to and lyrically contemplative enough for 10-year-old me to rest my face against the cool car window glass, running my fingers dramatically down the backseat window. <strong>&#8212; Sophie Parrish<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Somebody Else\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/5hc71nKsUgtwQ3z52KEKQk?si=1d7511aa8a304196&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>&#8220;Pick Up the Phone&#8221; by Travis Scott, Young Thug, and Quavo<\/strong><\/h2>\n\n\n\n<p>In 2016 I was 9 years old wearing Yu-Gi-Oh shirts, cargo shorts and only really listening to Linkin Park\u2019s Meteora through Beyblade AMVs, but that same year Travis Scott, Young Thug and Quavo were blessing ears everywhere with \u2018pick up the phone.\u2019 Although the song appeared on both Young Thug and Travis Scott&#8217;s albums (released days within each other) the real star of the show is Quavo. Offrip he compares himself to Macaulay Culkin in Home Alone, expresses maturity by realizing he\u2019s in the wrong to his current relationship and makes a double entendre for buying jewelry and making lean. Not only does he have the best verse, but he\u2019s also the sole reason for the Travis Scott album&#8217;s iconic name, referencing American R&amp;B singer Brian McKnight halfway through. If you think his 24 bars couldn\u2019t get any better you\u2019re simply mistaken, as he compares himself to ice cream sandwich bar Klondike and their polar bear mascot, right before he invents the word \u2018discriminize,\u2019 in reference to loving all women no matter their race. Filled with beautiful, autotuned harmonies from Young Thug, Travis Scott\u2019s incredibly recognizable adlibs, Quavo\u2019s best verse and insane production from MIKE DEAN, \u2018pick up the phone,\u2019 showcases the epitome of mid 2010\u2019s trap music. <strong>&#8212; Mario Sierra<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: pick up the phone (feat. Quavo)\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/20dP2DaMHIAmwWAbp7peSr?si=44634232dbe64ecb&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>&#8220;Death of a Bachelor&#8221; by Panic! At The Disco<\/strong><\/h2>\n\n\n\n<p>In 2016, The Chainsmokers ruled over trampoline parks across America and Adele made me second guess using the word \u201cHello\u201d in my vocabulary. Too many pop songs from this time period absolutely torch my brain of any thought and it&#8217;s safe to say Panic! At The Disco was about to join the crowd. P!ATD has countless problems that can be revisited in a more lengthy conversation, but the 2016 release of Death of a Bachelor might just be the scraps of what was. The title track oozes with 2016 goodness, perfect for karaoke or to play inside a Macy&#8217;s. Even though Brendon Urie truly destroyed his legacy after this album with his 2018 release &#8220;Pray for the Wicked&#8221;, I hope we can pour one out for this modern 2016 classic. <strong>&#8212; Sam Shipman<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Death of a Bachelor\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/1BECwm5qkaBwlbfo4kpYx8?si=706eca62e555440c&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>&#8220;Never Ending&#8221; by Rihanna<\/strong><\/h2>\n\n\n\n<p>As we approach a full decade since Rihanna\u2019s monumental and most recent album ANTI, I\u2019m reminded of the days of vine edits and youtube fan compilations that made this album virtually inescapable, as well as the fact that it\u2019s, you know\u2026 a Rihanna album. As an emerging fan editor myself at 10 years old, I distinctly remember stumbling across heaps of instagram edits to her cover of Tame Impala\u2019s Same Old Mistakes, me personally gravitating more towards her cover than the original and quickly becoming one of my most replayed songs of 2016. As much as I was obsessed with that cover for a while, I think the song that came after Same Ol\u2019 Mistakes in the tracklist really solidified the album for me as being totally unforgettable, and marked a distinct point in my childhood that I look back on fondly. \u201cNever Ending\u201d is a somewhat simple ballad that beautifully captures the intensity of falling in love, providing a very pleasant contrast to the dark synth-pop sound of Same Ol\u2019 Mistakes. When I play this song I\u2019m instantly brought back to being a kid in the summer of 2016, giving me vivid flashbacks of when I\u2019d be strolling around my neighborhood during sunset accompanied by the light, soothing instrumentation and Rihanna\u2019s gut wrenching lyrics. \u201cNever Ending\u201d is pure nostalgia for me, a song that I view as a sort of time capsule for a simpler and more pure time in my life, and I to this day continue seeking out songs with similarly warm ballads that for me are the epitome of peace and happiness. While ANTI is full of bangers and chart-topping hits, \u201cNever Ending\u201d is such a quietly visceral song that I think really adds more emotional dimension to the album, and perfectly captures that melancholy feeling of nostalgia I know that many of us have for 2016. <strong>&#8212; Diego Gonzalez<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Never Ending\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/7Jd5LgnSRQElW6FsTWVPzE?si=82c4e94aa0fc4f7a&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>&#8220;Sahara&#8221; by DJ Snake, Skrillex<\/strong><\/h2>\n\n\n\n<p>For me, 2016 was the year of EDM. The trailer to We Are Your Friends (2015) had introduced me to the genre. I begged to see the movie, but it was rated R and I was 12. Instead, I took to iTunes to listen to the soundtrack, and discovered artists along the way. DJ Snake\u2019s Encore (2016) came out in the midst of my obsession. The album became the soundtrack to my bus rides to and from school as I listened on repeat. I remember each song with detail, but most of all, \u201cSahara.\u201d It begins with the noises of an artificial storm, a wave of music coming over the desert. When the lyrics begin, they are indistinguishable from the instrumental. Then, in a flash, the beat drops. There\u2019s a funky, screechy quality to what follows, much different from the meditative singing that ushered us in. At the time, listening to this song transported me out of the bus into a plane of nothing but sound. I probably haven\u2019t listened to EDM seriously in the 10 years since. It was only with the resurgence of 2016 this year that I even thought of Encore again. I laugh thinking about myself in middle school listening to such intense music, but I am also inclined to blast it again on my walk to college. <strong>&#8212; Lily Suckow Ziemer<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Sahara\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/5GokpIAufFJxKqkJgRtdKD?si=c9d7a317dc8149f2&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>\u201cClose\u201d by Nick Jonas ft. Tove Lo<\/strong><\/h2>\n\n\n\n<p>Rewind the clock ten years and Tove Lo is still topping charts, meanwhile Nick Jonas has just released his second solo album, <em>Last Year Was Complicated<\/em>. Track three is \u201cClose,\u201d featuring Tove Lo. I had no idea what streaming was, but I knew the music video second by second. Perhaps the visual of Nick Jonas being tied up is what initially led me to play the song non-stop on my iPad mini, but \u201cClose\u201d was the soundtrack of my dreams for a different reason. Jonas yearns heavily both in tone and lyrics from the second the song starts: \u201coh damn, oh damn, oh damn\/ I\u2019m so perplexed\/ With just one breath, I\u2019m locked in.\u201d Steel drums back up the track on a short loop, echoing out from time to time, creating a sense of fleeting time. Like a mirror, Tove Lo enters at 1:22 giving her take on the obsession previously described by Jonas: \u201cI am not really known for being speechless\/ But now, but now somehow\/ My words roll off my tongue right onto your lips.\u201d At 11, I didn\u2019t know how to like things, only love or hate. Obsession and indifference were my only options. So when my favorite Jonas brother released a song about desperation and intimacy, I was <em>all over it<\/em>. <strong>&#8212; Eleniz Cary<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Close\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/3lSDIJ2abCrOdDJ6pshUap?si=0374341edbb544d0&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>&#8220;33 &#8216;God'&#8221; by Bon Iver<\/strong><\/h2>\n\n\n\n<p>In 2016, I was nine years old. I have no idea what I was doing with my life back then, let alone what I was listening to. I can tell you, though, that 2016 was the year Bon Iver released their iconic folktronica album <em>22, A Million<\/em>. As a body of work, it expertly blends soulful and organic instrumentation with uniquely glitchy electronic elements that scratch the itch in my brain in just the right way. \u201c33 \u2018GOD\u2019\u201d is the fourth track on <em>22, A Million<\/em>, and it initially stood out to me because of its chaotic, fragmented soundscape. The song includes a large number of sped-up and slowed-down samples from artists like Sharon Van Etten, Paolo Nutini, and Lonnie Holley, but the most frequently repeated sample is the line \u201cwhen we leave this room it\u2019s gone\u201d from Jim Ed Brown\u2019s 1971 song \u201cMorning.\u201d All of the lyrics within \u201c33 \u2018GOD\u2019\u201d are heavily imbued with themes of faith, spiritual doubt, and existentialism. The official video even opens with a phrase from Psalm 22: \u201cwhy are you so FAR from saving me.\u201d As someone who was a member of the Catholic church a decade ago and is no longer practicing, these words hold a lot of significance for me &#8211; when we leave this room, it really <em>is<\/em> gone. <strong>&#8212; Emeline Chopin<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: 33 \u201cGOD\u201d\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/5sWF1EZGm727f3b620vkbC?si=5e65a84e46ad47f9&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>&#8220;Call This # Now&#8221; by The Garden <\/strong><\/h2>\n\n\n\n<p>Everything you like\u2014I liked ten years ago, or whatever omighty puts on their t-shirts. I was 12, respectfully. Trying to emulate my french exchange student that had every Kylie lip kit. That summer I went to San Francisco. Bomber jacket packed and American Apparel sought out upon arrival, everything was looked at with valencia filter glasses. So, in that retrospective, I don&#8217;t know where I found The Garden. <a href=\"https:\/\/www.youtube.com\/watch?v=DTNcrUBCqXk\" target=\"_blank\" rel=\"noreferrer noopener\">Maybe from youtube recommendations of their very eclectic music video<\/a>. They were a new dynamic with only a few singles to back up their discography at the time. My dad compared them to the likes of LA natives\u2013The Gun Club. Saying that their rusty bass and tongue and cheek visuals were oh so California (Orange County to be exact).It felt good to discover something new that I enjoyed. Something odd and sometimes unnerving, but always in tune, much like being 12 in 2016. <strong>&#8212; Salem Ross<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Call This # Now\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/4ZAWpkCs5E22vL9qlSnoMg?si=f2e93f61c0d64399&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>&#8220;Make Me (Cry)&#8221; by Noah Cyrus, Labrinth<\/strong><\/h2>\n\n\n\n<p>In 2016, 11 year old me needed something to feel besides the discomfort that is middle school. Luckily, Noah Cyrus timidly crept out of her older sister\u2019s spotlight to team up with Labrinth and create the emotionally-charged anthem of my sixth grade winter, \u201cMake Me (Cry).\u201d There is something exhilaratingly thrash about this single and considering Cyrus was only 16 at the time of its release, it definitely wasn\u2019t that deep&#8230;but lowkey it was because Labrinth has never joked around in his life. The duo demonstrates how both combative and complementary love can be all at once; while Cyrus confesses hard truths through her identifiable belt, Labrinth uses almost industrial-sounding production elements to bring to life the tumultuous story the lyrics tell. This song (presently) rocks my world and was one of my first examples of a song well-done. <strong>&#8212; Serenity Holland<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Make Me (Cry)\" style=\"border-radius: 12px\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/track\/2BrzlUj1u1CtvaJDGIKpsP?si=e6555427faec46b7&amp;utm_source=oembed\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>&#8220;Broccoli&#8221; by DRAM ft. Lil Yachty<\/strong><\/h2>\n\n\n\n<p>\u201cAin\u2019t no tellin what I\u2019m finna be on, ayy, ayy,\u201d DRAM sings overtop a piano riff that is as simple and optimistically childlike as \u201cChopsticks\u201d the waltz. The year is 2016 and the message is clear as a sunny day: \u201cI\u2019m beyond all that fuck shit, hey.\u201d This pop-rap track was a Summer anthem so potent that it seems, in retrospect, to sum up our entire generation\u2019s ignorant teenage hedonism. See it in the first two lines: \u201cHey, lil\u2019 mama, would you like to be my sunshine?\/ N*gga, touch my gang, we gon\u2019 turn this shit to Columbine.\u201d That couplet exemplifies the desensitized edge so characteristic of our generation, kids born into the simulacra who couldn\u2019t even conceive of (or deal with) real tragedy. After all, this is the year Trump first got elected, and the summer of the Pulse Nightclub shooting and Paris Bastille day terror attack. There\u2019s also the myopic decadence: ice that cost Yachty \u201cten times three\u201d (the kids were doing math), the \u201cbaby mama\u201d all on DRAM at a Project X-type party, \u201csalmon on a bagel with the capers on a square plate.\u201d But at its core, \u201cBroccoli\u201d is, of course, a song about weed\u2014first highs, good highs, higher highs, transcendent highs. Back when it was illegal, weed culture\u2014matching, sharing pens, hitting apples\u2014felt like a unifying social currency, a lingua franca that traversed type and caste in high school. But that high couldn\u2019t last forever. Summer 2016 ended, people grew up, Musical.ly was swallowed into TikTok. And yet, we carry on the memory. Play it at any party and watch the room get lit: each person singing a long-gone reverie of water-bottle bongs, first crushes, that one house party they will never forget, and that one high where, despite chattering teeth and eye-drops, they could not stop smiling. <strong>&#8212;<\/strong> <strong>Christian Jones<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Spotify Embed: Broccoli (feat. 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BOOM!!! 2016 was Beyonc\u00e9\u2019s year to be pissed and \u201cDon\u2019t Hurt Yourself\u201d&nbsp; is pure&#8230;<\/p>\n","protected":false},"author":3669,"featured_media":14098,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[19],"tags":[38],"class_list":["post-13493","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-staff-pix","tag-staff-pix"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Staff Pix 2\/7: 2016 - wecb<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Staff Pix 2\/7: 2016 - wecb\" \/>\n<meta property=\"og:description\" content=\"&#8220;Don&#8217;t Hurt Yourself&#8221; By Beyonc\u00e9, Jack White On \u201cDon\u2019t Hurt Yourself\u201d, Beyonc\u00e9 first asks \u201cWho the fuck do you think I is?\u201d before telling her \u201cboy\u201d that he can watch her fat ass twist as she bounces to the next dick. 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