{"id":780,"date":"2022-04-21T13:30:27","date_gmt":"2022-04-21T13:30:27","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2022-4-19-songs-we-used-to-hate-but-now-we-love\/"},"modified":"2022-04-21T13:30:27","modified_gmt":"2022-04-21T13:30:27","slug":"2022-4-19-songs-we-used-to-hate-but-now-we-love","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2022-4-19-songs-we-used-to-hate-but-now-we-love\/","title":{"rendered":"Songs We Used to Hate (But Now We Love)"},"content":{"rendered":"
\n

The Milk Crate staff considers the music we didn\u2019t like at first, but grew to love. A portion of this article is featured in our Spring 2022 zine \u201cGuilty Pleasures\u201d. This is the extended version. <\/p>\n<\/div>\n

\n

Lily Hartenstein <\/h1>\n

Hope in Suffering (Escaping Oblivion and Overcoming Powerlessness) by Yves Tumor <\/h2>\n

Back when I was compiling WECB\u2019s Albums of the Decades list,<\/a> there were a lot of sections with several-way ties, and I brought them to the Milk Crate staff to hash them out. We knew by the ranking system that Safe in the Hands of Love <\/em>(2018) was somewhere around the high twenties in our top 100, but had to place it. I had never heard of Yves Tumor until that week, but the two staffers arguing fiercely for the album were noisecore gatekeepers I often clashed with on principle as I found their overall approach to music journalism pretentious. One listen to \u201cHope In Suffering\u2026\u201d, a spacey and jarring commotion I can only describe as a Gregorian chant of the 23rd century, and I dug my feet in to declare myself against experimental noise bros. Safe in the Hands of Love<\/em> made number 27 from the efforts of my fellow staffers, but I didn\u2019t revisit Tumor\u2019s work until the release of Heaven to a Tortured Mind <\/em>in 2020. It\u2019s a masterpiece, and the sudden recognition of Tumor\u2019s genius made me realize how wrong I was to judge this album so fiercely. In response to the somewhat hostile environment I found entering music criticism spaces, I had grown overdefensive and decided against an album just to be contrary; my aversion to pretension made me pretentious in my own way. The aforementioned noise bros showed me so much incredible music in their time on Milk Crate, and although I maintain my arguments about the downfalls of musical elitism, I remember my times arguing with them in the WERS conference room fondly.<\/p>\n<\/div>\n

\n

Sophie Severs<\/h1>\n

We Will Rock You by Queen<\/h2>\n

It was kindergarten, and I was a timid little girl stuck in an afterschool science program with a bunch of rambunctious first grade boys. Instead of participating in the cool science experiments, the boys chose to perform their own rendition of Queen\u2019s \u201cWe Will Rock You\u201d on the daily. It is safe to say that they soon became the bane of my kindergarten experience. The song stomped and clapped itself into my brain, and from then on I could only associate it with boyish immaturity. Luckily, my aversion to Queen melted away when my mother began playing a Queen\u2019s Greatest Hits CD in the car on the drive home from the fourth grade. If my Mom enjoyed the band, then so could I. Thanks to her, I discovered that there was much more to Queen than purely stomps and claps, and I have loved listening since.<\/p>\n<\/div>\n

\n

Izzy Desmarais <\/h1>\n

Morning Dew by Grateful Dead<\/h2>\n

Here I am again, talking about how much I used to hate the Grateful Dead. It took me a long time to appreciate the artform that is psychedelic rock, despite being introduced to it at such an early age. To be more specific, it took conducting extensive research on the 1960s hippie counterculture and detailed analyses of Grateful Dead songs. While watching the documentary Long Strange Trip<\/em>, a good ten minutes were dedicated to the 1972 live performance of \u201cMorning Dew\u201d at the Lyceum Theatre in London. Their sound editor, Dennis \u201cWiz\u201d Leonard, described such a religious experience while listening to this song, I just had to listen for myself. While I did listen to the studio version opposed to the live recording (I still can\u2019t bring myself to sit through twenty minutes of improvisation), I can definitely understand the hype surrounding this song. The lyrics are beautifully haunting as Garcia describes the futility of life while in a nuclear wasteland. While I\u2019ll never be able to trip on acid in the general admission lawn at a Dead show in 1972, I have<\/em> bawled my eyes out until I couldn\u2019t breathe anymore with this song playing in the background while showering, which are both disorienting experiences in their own right.<\/p>\n<\/div>\n

\n

Everly Orfanedes <\/h1>\n

Wide Open Spaces by The Chicks <\/h2>\n

We are all too familiar with that classic scenario where you ask someone what kind of music they listen to, and they claim they \u201clove all kinds of music except<\/em> country.\u201d My toxic trait is that I used to be that person. Maybe it was because in the developmental years I wanted to seem cool, or because the twang didn\u2019t sit right with me, but overtime I found myself discovering my soft spot for country music. Specifically, country by women, I\u2019m still hesitant towards the \u201ctrucks and beer\u201d aspect of the genre. As I\u2019ve grown older, I\u2019ve found myself beginning to accept all parts of myself, and things that once felt embarrassing I\u2019ve embraced. This heavily applies to what kinds of music I felt \u201cembarrassed\u201d to listen to. I realized that hating one specific genre of music simply because a lot of people do is like, really dumb. The Chicks fell victim to my immature mindset, but in highschool I discovered my love for their hit song \u201cWide Open Spaces,\u201d and eventually the whole album. <\/p>\n<\/div>\n

\n

Will Ingman<\/h1>\n

Your Love by The Outfield<\/h2>\n

\u201cAppearances can be deceiving\u201d is the simplest way I can phrase my thoughts on \u201cYour Love\u201d. The people I asked (and yes, I asked people about this) gave pretty consistent feedback that no, Will, you do not seem like someone who enjoys British power-pop. And for the longest time, I didn\u2019t! And to some degree, I still don\u2019t! But when a certain song gnaws at you, really drives its way into your head, and it refuses to leave, your preconceived notions are cast into the wind. Hell, The Outfield aren\u2019t even particularly notable among <\/em>British power-pop: critics call them \u201cnumbingly derivative\u2026with none of the [Cars, Journey, or Foreigner] style\u201d, while contemporary listeners considered them \u201cpoppy, Canadian, Top 40 drivel\u201d. I won\u2019t argue against any of these stances, but a very primal part of me cannot resist a good pop harmony. \u201cYour Love\u201d isn\u2019t experimental, it isn\u2019t ground-breaking, but there\u2019s something refreshing about how uncomplicated the song is.<\/p>\n<\/div>\n

\n

Adri Pray<\/h1>\n

Don\u2019t Wanna Fight by Alabama Shakes<\/h2>\n

This song irked me a lot when I was younger. It was my father who introduced this song to me, initially, and because he loved it, I was subjected to it constantly. The way the singer started the song annoyed me to no end but I endured it because I liked the walking bass line and the rest of the actual music. Listening to it now, fully moved out of my home and away from my father, it gives me a sense of nostalgia and longing for my younger years when we would go on drives and listen to mixtapes from his teenage years. When I\u2019m lost in life, I put on \u201cDon\u2019t Wanna Fight,\u201d and I think about what advice my father would give me. Since I started college, I listen to this song at least once a week, and, with my father\u2019s help, created a playlist of my own of songs my father and I mutually enjoyed off his mixtapes.<\/p>\n<\/div>\n

\n

Julia Norkus <\/h1>\n

My God by The Killers (feat. Weyes Blood)<\/h2>\n

Growing up, I had an odd relationship with religion. Raised Catholic, I didn\u2019t feel a strong connection to church and that expression of spirituality and I eventually migrated away from it. As a major fan of The Killers, I knew that lead singer Brandon Flowers was and is Mormon, but it was rarely reflected in their music. When they started to release albums after 2012, there were lots of religious undertones that I hadn\u2019t recognized before. I was a little averse to the idea of The Killers bringing in religion considering my rocky relationship with it. However, after about a year since its release, I gave Imploding the Mirage<\/em> (2021) a chance, and it\u2019s now speaking to me in ways I could never have imagined. Their song \u201cMy God\u201d from title alone made me worried, but after giving it an honest chance, I realized that it carried messages that far ascended the concepts of religion and spirituality. It carries a message of release, and allowing a weight to be lifted by a force outside of yourself. I think for me it was saying that it\u2019s okay if you aren\u2019t able to do it all on your own. <\/p>\n<\/div>\n

\n

Nora Onanian<\/h1>\n

Short Skirt \/ Long Jacket by Cake<\/h2>\n

When I first heard \u201cShort Skirt \/ Long Jacket\u201d by CAKE, everything about it annoyed me. The whole premise of listing out attributes \u2014 most entirely contradicting and unattainable \u2014 that a man wanted in a woman felt wrought with sexism. The noise that introduces the song directly after the not-quite-pleasing-to-the-ear extended trumpet note sounded like it was pulled from the game \u201cBop It.\u201d And don\u2019t even get past-me started on the cowbell occasionally inserted in the backing beat. One Christmas, my sister even ironically gifted me a mini skirt and a long jacket due to my vocal distaste of it. But somewhere along the lines, I stopped rolling my eyes when John McCrea held the word \u201clong\u201d for nearly 4 seconds. I sang along with the lyrics, especially my favorite \u2014 \u201cShe\u2019s changing her name \/ From Kitty to Karen \/ She’s trading her MG \/ For a white Chrysler LeBaron.\u201d And I realized that just like all of the odd sonic choices CAKE made, the lyrics were written with a satirical intent worthy of appreciation. Now, in a way I never imagined I would, I crank the volume up when \u201cShort Skirt \/ Long Jacket\u201d comes on and joyfully ride the wave of self-empowerment that the 3 minutes and 24 seconds provide.<\/p>\n<\/div>\n

\n

Karenna Umscheid <\/h1>\n

the last great american dynasty by Taylor Swift <\/h2>\n

It\u2019s difficult to think about a time when I wasn\u2019t a die-hard Taylor Swift fan. But yes, as a child, I was obsessed with Katy Perry, and sided with her in the fight against Taylor. After they became friends, I decided I could learn to love Taylor Swift too. Watching Miss Americana, <\/em>I became entranced with Swiftie lore. But it wasn\u2019t until I volunteered on Ed Markey\u2019s congressional re-election campaign that I truly fell in love with her music. On every virtual phone bank event, the track \u201cthe last great american dynasty\u201d, off her surprise album Folklore<\/em>, would play in the background. I became obsessed with her descriptive songwriting, specific enough to document her own stories, but vague enough to apply to fans’ lives as well. I\u2019ll never stop thinking about what would have happened if I had become a fan earlier, or how my life would be if I hadn\u2019t become one at all. Still, I\u2019ve had a marvelous time listening to Swift over and over. <\/p>\n<\/div>\n

\n

Nia Tucker <\/strong><\/h1>\n

ride the dragon by FKA Twigs<\/h2>\n

It would be sacrilegious to say I hated fellow Capricorn FKA Twigs when she first appeared on the music soundscape, but I did. Something about her wispy vocals never did it for me and I tried so hard as a young 16 year old still getting all their music recommendations from the Tumblr zeitgeist. The only songs that eventually managed to make it to my playlists until very recently, were \u201cLights On\u201d from her first album, LP1 <\/em>(2014), and \u201choly terrain\u201d from her acclaimed album, MAGDALENE<\/em>, in 2019. So, when her newest project, the Caprisongs (2022) <\/em>mixtape was announced, I wasn\u2019t very enthused. I figured it would be another sparse and breathy track-filled project that I couldn\u2019t connect to. But, from the opening track, \u201cride the dragon,\u201d I was left in awe. Twigs speaks constantly with a core of vulnerability and rawness that others try to shroud, and it\u2019s not just her lyrics, but her voice control and dedication to the idea that music is performance art, that prove that she is one of the greatest artists of our generation. Caprisongs<\/em> is subtle, fun, rough, honest, brutal and confident wrapped all into one, and I see now that that is what Twigs has exuded all along. \u201cride the dragon\u201d is a song that not only has stayed on repeat since its release early this year, but its message\u2014that you are in control of your own destiny and autonomy\u2014is something that I feel wholly empowered by. In the wake of admittance that she was abused by former boyfriend, Shia LaBoeuf, and her history of dating other famed white men who have their audiences abuse her in different ways, I find the way she plays with the deliate nature of her voice alongside often heavier instrumentals, to be orchestral. Twigs knows what she\u2019s doing, and from the start of the career has never comprised her talent to create something that didn\u2019t speak innately to her experiences in life.<\/p>\n<\/div>\n

\n

Harry Bates<\/h1>\n

Diary by Bread<\/h2>\n

Years ago, my mum gave my older brother Graham her beloved Best of Bread<\/em> album for his record collection. From then on, for months on end, my house exploded with the sound of Bread \u201873, specifically this song. I swear he must\u2019ve run that record dull with its endless spinning \u2013 no wonder why his table motor busted. He would call me into his room every time, and say something along the lines of \u201cListen to these lyrics! Isn\u2019t it great?\u201d There\u2019s something about forcing someone to listen to music that inevitably makes the music in question lose all possible attractiveness. It eventually took years for me to not skip over this song immediately, until one day, during a severe episode of homesickness, when I stumbled upon the fabled track. It brought me closer to home, away from the chaos of Beantown and back to the apple trees and crisp air of the Souhegan Valley. At heart, I suddenly didn\u2019t feel so far away from the family I love so much. Bread\u2019s \u201cDiary\u201d is now one of my favorite songs. It reminds me that tastes change and perspectives shift, but memories stick.<\/p>\n<\/div>\n

\n

Maura Cowan<\/h1>\n

Favor by Julien Baker<\/h2>\n

\u201cJulien Baker\u2019s style,\u201d I once said to a friend, \u201cjust worked best for me when I was at my worst.\u201d I was being flippant, but there\u2019s some truth to that: in 2017 during a depressive episode, I discovered Sprained Ankle<\/em>, and when her sophomore album Turn on the Lights<\/em> dropped that same year, the two became the soundtrack of a very tough few months. Her deeply confessional and often self-effacing lyricism, spare instrumentals, and achingly powerful vocal style reflected so much I was feeling about myself and my life at that moment. To this day, those two albums have stuck with me as some of my favorites from my mid-teens. The past few years, however, have been kinder to me than those days were\u2026 and my improved mental health was perhaps part of the reason that Baker\u2019s third release, Little Oblivions<\/em>, did not strike my core quite like its predecessors did. But with a year of retrospect, \u201cFavor\u201d is the song from that album that I feel I will carry with me forever. It grew on me purely on its own merits, despite my initial misgivings\u2013 it is just perfectly constructed, representative of all of Baker\u2019s biggest strengths and deeply relatable in ways I may never be able to article. Oh Julien, oh 15-year-old me, I will never truly leave you behind.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The Milk Crate staff considers the music we didn\u2019t like at first but grew to love. 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