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Section of the text: “In vain have I struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you.” Elizabeth’s astonishment was beyond expression. She stared, coloured, doubted, and was silent.

Rationale: Elizabeth’s astonishment and mixed emotions in the quote reflect the themes of uncertainty and vulnerability found in the song. Both texts highlight the struggle of expressing deep emotions and the transformative power of love, making them resonate with each other beautifully.

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Section of the text: "You must know, however, that I have not been able to bear the idea of my daughter’s happiness being in your power."

Rationale: Both Lady Catherine and the narrator in "Anti-Hero" grapple with issues of pride, influence, and personal worth, showcasing the challenges of navigating one's role in relationships and society.

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" Anti-Hero" is a song by American singer-songwriter Taylor Swift and the lead single from her tenth studio album, (2022). Swift wrote and produced the song with Jack Antonoff. It is a pop rock and synth-pop song driven by a 1980s-inspired drum loop generated with a LinnDrum and retro synthesizers such as the Juno 6 and the Prophet 5. Inspired by Swift's insecurities, the lyrics focus on self-loathing and the impact of fame on her wellbeing; the bridge narrates a nightmare where her daughter-in-law murders her for her last will. Republic Records released the song for download and streaming on October 21, 2022.

Music critics generally praised the catchy production and strong vocals of "Anti-Hero"; they deemed its lyricism candid and honest that showcased Swift at her most self-critical. Many publications ranked the song among the best releases of 2022. The single peaked atop the Billboard Global 200 and broke the record for the most opening-day streams on Spotify. In the United States, it was Swift's ninth chart topper on the Billboard Hot 100, where it spent eight weeks at number one, and made her the first artist to have a number-one single on Radio Songs in the 2000s, 2010s, and 2020s decades. It peaked in the top 10 on the charts of many territories across the Americas, Europe, and Asia-Pacific.

Swift wrote and directed the song's music video, which depicts her fears, insecurities, and eating disorder, using three different incarnations of her. The video also reenacts the nightmare mentioned in the lyrics, starring Mike Birbiglia, John Early, and Mary Elizabeth Ellis as Swift's fictional sons and daughter-in-law. "Anti-Hero" won many awards including a People's Choice Award, two iHeartRadio Music Awards, and six MTV Video Music Awards including Video of the Year, making Swift the first artist to win the award two years in a row. It was nominated for Record of the Year, Song of the Year, and Best Pop Solo Performance at the 66th Annual Grammy Awards.

Amidst the COVID-19 lockdowns in 2020 Taylor Swift released Folklore and Evermore, indie folk albums that showcased her songwriting by exploring fictitious narratives and characters, deviating from her previous autobiographical songs. Folklore and Evermore brought Swift widespread critical acclaim and recognition as a songwriter. From November 2020, Swift began re-recording her first six studio albums as a reaction to the 2019 public dispute involving the sales of her masters of her albums that had been released by Big Machine Records. By re-recording the albums, Swift had full ownership of the new masters, which enabled her to control the licensing of her songs for commercial use and therefore substituted the Big Machine-owned masters. She released her first two re-recorded albums, Fearless (Taylor's Version) and Red (Taylor's Version), in 2021.

Amidst the re-recording projects, Swift sparked speculation on new music when she appeared as a guest at Haim's One More Haim Tour concert in London in July 2022; it was her first concert performance since 2019. At the 2022 MTV Video Music Awards on August 28, in her acceptance speech for Video of the Year for All Too Well: The Short Film, she announced a new studio album, slated for release on October 21. After the show, Swift revealed the album title Midnights on her social media. Using the video-sharing platform TikTok, from September 21 to October 7, 2022, she released a 13-episode video series called Midnights Mayhem with Me, where she announced the title of each Midnights track in a randomized order per episode. In each episode, Swift rolled a lottery cage containing 13 ping pong balls numbered from 1 to 13, each representing a track of the album, and when a ball dropped out, she disclosed the title of the corresponding track through a telephone. In the sixth episode, released on October 3, 2022, Swift announced the title of the third track: "Anti-Hero".

"Anti-Hero" is the lead single from Midnights. On October 21, 2022, it was released for download onto Swift's website, exclusively to American customers, and to Italian radio by Universal Music Group. Republic Records released the song to the US hot adult contemporary radio on October 24, and contemporary hit radio on October 25. A duet remix featuring the band Bleachers was released for limited-time download onto Swift's website on November 7, and for general streaming and download the following day. The single was supported by remixes produced by the DJs Roosevelt, Kungs, Jayda G, and Illenium. In total, 10 versions of "Anti-Hero" were released: the original mix, an acoustic version, an instrumental version, the Bleachers versions ( explicit and clean), the four remixes, and an extended Kungs remix.

Swift wrote and produced "Anti-Hero" with Jack Antonoff, who had produced songs for all of Swift's past albums starting from 1989 in 2014. Antonoff recorded the song with the engineer Laura Sisk, assisted by Megan Searl, Jon Sher, and John Rooney, at Rough Customer Studio in Brooklyn and Electric Lady Studios in New York City. Bobby Hawk played additional violin, and his performance was recorded by John Gautier at Sound Hound Studios in Lakeland, Florida. "Anti-Hero" was mixed by Serban Ghenea at MixStar Studios in Virginia Beach, Virginia, and mastered by Randy Merrill at Sterling Sound in Edgewater, New Jersey.

According to the liner notes of Midnights, Antonoff programmed the track and played instruments including percussions, drums, acoustic guitars, Mellotron, Wurlitzer, and modular synths including the Juno 6 and the Prophet-5. Speaking with Time, Antonoff said that he built upon " Out of the Woods", which he produced for 1989. For the synth sounds, he used an OB-8, which created a sound that he compared to "an old organ in a baseball stadium". He created the drum sounds by applying a onto a LinnDrum beat. The end product is a pop rock and synth-pop song. It is driven by a 1980s rock-influenced drum loop that is coated in dense reverb. Critics described the synths as "simmering" and "buzzing".

I don't think I've delved this far into my insecurities in this detail before. I struggle a lot with the idea that my life has become unmanageably sized, and not to sound too dark, I struggle with the idea of not feeling like a person. [...] This song really is a real guided tour throughout all of the things I tend to hate about myself.

"Anti-Hero" explores Swift's publicity, fame, and personal issues; it marks a return to the autobiographical songwriting that she deviated from on the 2020 albums Folklore and Evermore. In a self-recorded video posted onto Instagram, Swift said it was one of the most honest songs she had written. The lyrics contain cryptic allusions to Swift's public image and personal life that generated diverse interpretations.

The track starts with Swift examining her flaws: "I have this thing where I get older but just never wiser", which Carl Wilson from Slate described as a reflection on her early fame. In the first verse ("Midnights become my afternoons, when my depression works the graveyard shift/ All the people I've ghosted stand there in the room"), she looks back on her difficult past. According to The Washington Post's Emily Yahr, these lines allude to Swift's past celebrity controversies, including the events in 2016 that made Swift think her career was over.

The second verse has Swift discussing how her fame hinders her from having real, meaningful connections: "Sometimes I feel like everyone is a sexy baby/ And I'm the monster on the hill/ Too big to hang out/ Slowly lurching towards your city/ Pierced through the heart but never killed;" there were varied opinions about whether these lines conjectured an insult, a confession, or an exaggerated self-image, and some internet audiences said they potentially referred to the sitcom series 30 Rock. Lindsay Zoladz of The New York Times thought that the "sexy baby" lyric demonstrated the fetishization of female youth in the music industry. Swift then makes fun of her public display of charitable acts with the lines, "Did you hear my covert narcissism/ I disguise as altruism/ Like some kind of congressman?"

The chorus has Swift identifying herself as the source of her problems: "It's me, hi/ I'm the problem, it's me/ At teatime, everybody agrees/ I'll stare directly at the sun but never in the mirror/ It must be exhausting, always rooting for the anti-hero"; some critics said that these lines constituted the song's hook. American Songwriter's Jacob Uitti said these lyrics reflected the song's central theme: taking responsibility, or a lack thereof. Uitti added that these lyrics cautioned the listeners to not look to pop stars like Swift as "saviors". In the bridge, Swift describes a nightmare in which her daughter-in-law murders her to inherit her fortune and sees herself having gone to hell for not being as earnest as she appeared to.

Some critics commented that the production complemented the lyrics. According to The New Yorker's Lauren Michele Jackson, the verses are "bisected": the lyrics are sung "aloft and lilting on one phrase and near monotonic the next". Jackson said that this delivery made it seem as if Swift backed up each confessional lyric with a rebuttal afterwards. As the song ends, Swift repeats the chorus multiple times as the instrumental halts. Variety's Chris Willman described her vocals in the last choruses as "out of breath", and The Ringer's Rob Harvilla characterized them as "flustered, stammering". Jackson wrote that she sounded "weary" and, after she "[hisses]" the line "everybody agrees", "the song snaps back into place, its pep suddenly restored".

"Anti-Hero" received positive reviews from music critics. Some picked it as a highlight on Midnights and lauded it as a great lead single for its lyricism, including Harvilla, 's Megan LaPierre, Rolling Stone's Brittany Spanos, and The Independent's Helen Brown. Olivia Horn of described the single as an amalgamation of Swift's past albums, including "the lacquered synth-pop of 1989, the neurotic image analysis of Reputation, the dense lyricism of Folklore and Evermore". Horn added that the lyrics were full of surprising twists that deserved attention, and Rob Sheffield said the song was "like Season Two of ' The Man' full of killer lines".

The production also received positive comments; Lindsay Zoladz of The New York Times called it "infectious", and Willman said that the track had an " earworm hook" and praised Swift's delivery of the final refrains as confident and a display of a "master of tragicomic dramaturgy". The Guardian critic Alexis Petridis stated "Anti-Hero" offers "a litany of small-hours self-loathing", but sensed "an appealing confidence" in Swift's approach-that she "no longer feels she has to compete on the same terms as her peers." journalist Jason Lipshutz ranked it as the best song on Midnights. He commended its "wondrously scathing self-examination", " sardonic masterstrokes", and Antonoff's "sleek, shiny" production.

The Observer critic Kitty Empire picked "Anti-Hero" as one of the most "fascinating" tracks of the album, because of its "darkest self-flagellation". Carl Wilson of highlighted the lyrics, praising "the image of a touring superstar as an unrelatable monster" and Evermore-inspired " vignette" in the bridge about her future children. Wilson also admired Swift's "expanded" vocal tones, such as a "fantasy-European elevation reminiscent of Kate Bush" and "a very Yankee drawl". Calling "Anti-Hero" the "musical and emotional heart" of Midnights, Rick Quinn of PopMatters praised its "infectious" beat, "earworm" rhythm, Swift's enunciation, and Antonoff's production. He interpreted the "monster on a hill" lyric as Swift's "impossibility of blending in as one of America's biggest cultural figures." John Murphy of regarded "Anti-Hero" as "a Taylor Swift classic in the making", naming it one of the best songs she has ever written. said "Anti-Hero" is arguably Swift's best lead-single. named "Anti-Hero" one of the best songs of 2022. In a less enthusiastic review, Mark Richardson of The Wall Street Journal said the music was "overstuffed" and the lyrics were "awkwardly overwritten".

Swift at the 2023 MTV Video Music Awards, where "Anti-Hero" won six awards, including Video of the Year and Best Direction.

On October 16, Swift posted a short video on her social media accounts that depicted an itinerary of the events scheduled for the album launch, entitled Midnights Manifest. It specified a music video release for "Anti-Hero" the same day as the album. Excerpts from the video were shown in a teaser trailer for the album's visuals during Amazon Prime Video's broadcast of Thursday Night Football on October 20. Besides Swift, the names of the cast of the song's music video- Mike Birbiglia, John Early, and Mary Elizabeth Ellis-also appeared in the trailer. The music video for "Anti-Hero", written and directed by Swift, premiered via her Vevo channel on YouTube at 08:00 Eastern Daylight Time (EDT) on October 21, eight hours after the song's and album's release.

The video opens with Swift singing the first verse in a 1970s-style suburban home kitchen at night, briefly surrounded by ghosts in tablecloths. She opens the front door, revealing a second version of herself with her early-2010s appearance and a tour dance outfit, and they drink shots and sing the chorus together. The "current" version plays the koi fish acoustic guitar that she used on the Speak Now World Tour, while the "younger" version smashes a copy of it on the floor and criticizes the weight of the current version. A photograph of Swift's grandmother, Marjorie Finlay, is seen in the background during the bathroom scene. A third, giant version of Swift crawls into a neighbor's dinner party during the second verse, whereupon a guest unsuccessfully tries to subdue her by shooting her in the shoulder with a bow and arrow. The giant version of Swift gives a shocked and disbelieving look in response and glumly eats the guests' food alone.

The dialogue portion of the video plays out during the bridge, which describes Swift's dream of her own funeral, attended by her sons Preston and Chad ( Mike Birbiglia and John Early) and daughter-in-law Kimber ( Mary Elizabeth Ellis), the latter of whom Chad, who arrived from Ibiza, implicates in the apparent murder of Swift. The narrator Swift peeks from inside her elder self's coffin and eventually gets out without being noticed. The three attendees learn that Swift's last will and testament leaves them each with 13 cents and bequeaths her assets, including a beach house, to her cats Benjamin, Meredith and Olivia. Believing their mother left a secret encoded message, because "that's what mom would always do", a reference to Swift's " Easter eggs", her children keep reading but find out their inheritance is exactly as stated. This leads to bickering over who capitalized on Swift's name the most, in ways such as releasing a book and podcast or even wearing her old clothes. The ceremony ends in a brawl after Chad accuses Kimber of pushing Swift off a balcony to her death. The final scene of the video shows the first two versions of Swift sitting on the rooftop and offering a bottle of wine to the giant version, who happily accepts.

A scene in the "Anti-Hero" music video depicting Swift's body dysmorphia. It features two versions of Swift, one stepping on a scale while the other shakes her head in disapproval of her weight.

The music video received generally positive reviews from critics. However, a brief scene in the video alluding to Swift's struggles with eating disorder received mixed reactions from some social media users, who accused Swift of fatphobia. The scene depicts a depressed Swift stepping on a bathroom scale, which reads "fat", making the other, happier Swift shake her head in disapproval. An op-ed from The Cut said the scene "reinforces the idea of being 'fat' as bad". Several other social media users defended Swift. Op-eds from publications such as The Guardian, The Independent and The Daily Telegraph, and television shows like also sided with Swift, arguing that context is important, and given her history with an eating disorder, she should not have to "sanitize" her psychological trauma to make her art "digestible" for audiences. They highlighted that the point of "Anti-Hero" and its video is to illustrate "the warped workings of her brain back when she was in the throes of an eating disorder".

Nevertheless, the video was later edited to remove the specific shot of the scale. The removal of the scene also sparked criticism. Maya Georgi of NBC News questioned why Swift has "once again, let criticism control her actions" and why "did she not stand by the critique she was making with this scene". Georgi also said that Swift was "boldly" demonstrating "the damage the rhetoric of valuing thinness and demonizing larger bodies has done to her", and that "it's not an easy thing to unlearn. I am still unlearning it. Thousands of people across the gender spectrum are still unlearning it." Tomás Mier of Rolling Stone wrote Swift "had to water down her artistic expression and how she chose to portray her lived experience" and concluded, "Simply put: It's not that [Swift] thinks being fat is a bad thing, but that she was made to believe that it was."

The casket in the funeral scene from the music video is a direct-to-consumer model purchased from a company called Titan Casket, based in Bellevue, Washington, and Andover, Massachusetts. It received online attention and experienced a "huge spike in sales", according to the company.

Upon the release of Midnights, "Anti-Hero" earned over 17.4 million plays in its first 24 hours on Spotify globally, becoming the biggest opening day for a song in the platform's history. The single debuted atop the Billboard Global 200 and Global Excl. US charts, marking Swift's second number-one song on both the charts since their inception in 2020.

In the United States, "Anti-Hero" debuted atop the Billboard Hot 100 as Swift's ninth number-one song in the country, with 59.7 million streams, 13,500 digital downloads sold, and an airplay audience of 32 million. Swift became the first artist to simultaneously occupy the top 10 spots of the Billboard Hot 100 chart; the first artist to debut atop the Hot 100 with solo songs five times; the female artist with the most top-10 entries (40), surpassing Madonna (38); the first artist to debut atop both the Billboard 200 and Hot 100 simultaneously as many as four times; and the first artist to occupy the entire top-ten of the Hot 100, Streaming Songs, and Digital Songs charts simultaneously. The single spent a total of eight weeks at the top spot of the Hot 100, surpassing " Blank Space" (2014) as Swift's longest-running number-one song. It remained atop the Hot 100 for six consecutive weeks, paving way for Mariah Carey's " All I Want for Christmas Is You" (1994) to top the chart for the next four weeks during the holiday season, and returned to the top spot for two additional weeks in January 2023. "Anti-Hero" is the 10th song in Hot 100 history to spend its first six weeks at number one, and sold 327,000 digital downloads in its third week in the US, achieving the biggest digital downloads week for any song since her own " Look What You Made Me Do" (2017) sold 353,000 in its first week. The song finished 2022 as the best-selling song of the year, with a total 436,000 digital downloads sold. "Anti-Hero" spent 28 weeks in the Hot 100 top ten, surpassing " Shake It Off" as Swift's longest-running top-ten single.

The single was also Swift's first wide success on US radio formats since " Delicate" (2018), topping several airplay charts. "Anti-Hero" debuted at number 13 on the Radio Songs chart, a personal best for Swift, and eventually became her seventh number-one on the chart, making Swift the first artist to score a chart-topper in the 2000s, 2010s and 2020s decades separately. It peaked atop the Pop Airplay chart for three non-consecutive weeks and became her 10th number one on the chart and her first since "Delicate"; marked her ninth number-one on the Adult Top 40 chart, which it ruled for nine consecutive weeks to surpass "Shake It Off" as Swift's longest-running number-one single; and topped the Adult Contemporary chart dated March 25, 2023, to mark Swift's eighth number-one on the chart-the most for any artist in the 21st-century.

In Australia, "Anti-Hero" charted at number one on both the ARIA Singles and Airplay charts. It marked Swift's ninth number-one song in Australia, and became the first song ever to debut atop the airplay chart. It has spent six consecutive weeks atop the singles chart, with its first five weeks alongside Midnights' number-one run atop the albums chart-a record "Chart Double" streak. "Anti-Hero" debuted atop New Zealand's singles chart as well, and spent nine consecutive weeks atop the Billboard Philippines Songs chart, the longest for an international artist.

In the United Kingdom, "Anti-Hero" marked Swift's second number-one single in the UK after "Look What You Made Me Do"; both debuted atop the UK Singles Chart. Swift became the first woman since Miley Cyrus in 2013 ( and " Wrecking Ball") to simultaneously debut atop the albums and singles chart, following the number-one debut of Midnights as well. "Anti-Hero" spent six consecutive weeks atop the chart, surpassing "Look What You Made Me Do" to become her longest-running number one on the chart, and spent 15 non-consecutive weeks in the top ten, surpassing "Shake It Off" to become her longest-running top-ten hit, later surpassed by "Cruel Summer". It debuted atop the Irish Singles Chart, marking her third chart-topper in Ireland, and formed a Chart Double with Midnights' debut atop the Irish Albums Chart. The song was number-one in Ireland for six consecutive weeks.

Elsewhere, "Anti-Hero" scored Swift her first top-ten song on Germany's Top 100 Songs chart since "Look What You Made Me Do", debuting at number eight and later peaking at number seven whilst charting for 57 weeks, becoming Swift's longest-running single on the chart. "Anti-Hero" charted at number one in Belgium and Latvia, for six and three non-consecutive weeks, respectively. It broke the all-time records for the most streams for a song by an international artist in a week and day on Spotify Brazil and Canada. It received a gold certification from Music Canada within its first five days. "Anti-Hero" also topped the Canadian Hot 100 for five weeks, and marked her ninth number-one song in Canada.

"Anti-Hero" was the sixth most-streamed song on Apple Music globally in 2023, and the tenth most-streamed song on Spotify globally in 2023. Additionally the hook "It's me, Hi, I'm the problem, it's me" turned into a meme.

The single won and was nominated for various accolades. At the 2023 MTV Video Music Awards, Swift received 11 nominations, becoming the most nominated artist of the evening. "Anti-Hero" won six of the seven categories it was nominated in.

Digital download and streaming

"Anti-Hero" - 3:21

"Anti-Hero" (Illenium remix) - 4:27

"Anti-Hero" (acoustic version) - 3:16

Digital download

"Anti-Hero" (instrumental) - 3:21

"Anti-Hero" (Kungs remix extended version) - 3:55

Digital download and streaming - Single

1. "Anti-Hero" (featuring Bleachers) - 3:48

2. "Anti-Hero" - 3:21

Digital download and streaming - Remixes

1. "Anti-Hero" (featuring Bleachers) - 3:48

2. "Anti-Hero" (Roosevelt remix) - 4:59

3. "Anti-Hero" (Kungs remix) - 3:14

4. "Anti-Hero" (Jayda G remix) - 3:35

5. "Anti-Hero" - 3:21

Credits are adapted the liner notes of Midnights.

Taylor Swift - vocals, songwriter, producer

Jack Antonoff - songwriter, producer, drums, programming, percussion, modular synths, Prophet-5, bass, acoustic guitars, Juno 6, Mellotron, Wurlitzer, background vocals, recording

Bobby Hawk - violin

Megan Searl - assistant engineer

Jon Sher - assistant engineer

John Rooney - assistant engineer

Şerban Ghenea - mix engineer

Bryce Bordone - assistant mix engineer

Randy Merrill - mastering engineer

Jon Gautier - recording

Laura Sisk - recording

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" Anti-Hero" is a song by American singer-songwriter Taylor Swift and the lead single from her tenth studio album, (2022). Swift wrote and produced the song with Jack Antonoff. It is a pop rock and synth-pop song driven by a 1980s-inspired drum loop generated with a LinnDrum and retro synthesizers such as the Juno 6 and the Prophet 5.

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Section of the text: "I am not afraid of storms, for I am learning how to sail my ship"

Rationale: Both the quote and the song convey a message about taking control of one's life despite facing difficult situations. The quote suggests that while storms (challenges) may come, they are opportunities for learning and strengthening.

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" No" (stylized in all caps) is a song by American singer-songwriter Meghan Trainor from her second major-label studio album, (2016). Ricky Reed produced the song and wrote it with Trainor and Jacob Kasher Hindlin; Epic Records released it as the album's lead single on March 4, 2016. A dance-pop song inspired by 1990s pop music and R&B, "No" has lyrics about sexual consent and empowerment, encouraging women to reject unwanted advances from men.

Music critics praised "No" as a showcase of Trainor's confident and mature side and deemed it an improvement from her earlier songs. In the United States, the song reached number three on the Billboard Hot100 and was certified 2× Platinum by the Recording Industry Association of America. It also reached the top 10 in Australia, Canada, Austria, Israel, Latvia, South Africa, and Scotland, attaining multi-platinum certifications in the former two and Poland.

Fatima Robinson directed the music video for "No", which features Trainor performing choreographed dances in a warehouse and entwining her arms with accompanying female dancers. Critics compared it to the visuals of various 1990s female recording artists and praised her creative evolution, particularly the choreography. In further promotion, Trainor performed "No" on television shows such as the iHeartRadio Music Awards, The Ellen DeGeneres Show, and the Billboard Music Awards, and included it on the set list of her 2016 concert tour, the Untouchable Tour, and the Timeless Tour (2024).

Ricky Reed produced
and co-wrote "No".

Meghan Trainor signed with Epic Records in 2014 and released her doo-wop debut single, " All About That Bass", to commercial success. She initially recorded music in a similar vein for her second major-label studio album, (2016). L.A. Reid, the chairman of the label, encouraged Trainor to go back to the drawing board because she lacked a proper lead single for the project: "You don't have your bullet. You don't have that big song," a behavior that Trainor described as typical of him. Determined not to write "All About That Bass 2.0", she booked studio time with producer Ricky Reed that afternoon. Reed recounted that they "never set out to specifically go after any particular sound", beginning the session with the idea of a dancehall-inspired rhythm. They texted Jacob Kasher Hindlin to cancel his other session and join them.

Reed considered it impossible to complete the lead single that day and said, "Let's just blow off some steam, fuck around, have a good time." Trainor was determined to write "a big eff-you song, an anthem about girl power that sounded like nothing on the album", and asked Hindlin and Reed to "do a beat that no one expects Meghan Trainor to do". "No" was written within seven hours. Reed described the swift evolution of the song as "a thing of mystery", likening it to opening Pandora's box. When Reid heard it, he jumped up and said "That's what I'm talkin' about!", playing it 29 times in succession. Ultimately, "No" changed the direction of Thank You, as the three started experimenting with new musical styles and produced six more tracks.

In December 2015, Trainor stated that she had almost completed her upcoming album, describing the material as "something that's not on the radio" and disparate. In a Fuse interview published in February 2016, Trainor confirmed the lead single's title as "No" along with a March 2016 release date, calling it an anthem for women about telling a man they are fine by themselves: "No no no. I don't need your hands all over me. I'm good. I'm gonna dance on my own with my girls." On March 1 she unveiled the artwork for the song on her social media accounts. Epic Records digitally released it three days later, along with the preorder for the album. In the United States, the label promoted "No" to adult contemporary radio stations on March 7, and to contemporary hit radio stations the next day. BBC Radio 1 selected the song as the "Track of the Day" on March, while Epic Records solicited it to radio airplay in Italy four days later.

"No" is three minutes and 33 seconds long. Reed played keyboards, piano, and produced and programmed the song. Ethan Shumaker engineered it at Reed's studio in Elysian Park, Los Angeles, Chris Gehringer mastered it at Sterling Sound in New York, and Manny Marroquin mixed it at the Carriage House studio in Nolensville, Tennessee.

"No" is inspired by 1990s music and R&B. 's Joe Lynch described the song as a " dance-y pop anthem". Trainor opens it by singing doo-wop vocals over retro style music reminiscent of her debut major-label studio album, (2015), which transitions into crisp guitar instrumentation and a beat that recalls The Neptunes. Trainor intended for the transition to surprise listeners who may be expecting "No" to sound like her usual music: "Yeah, you think this is Meghan Trainor? Here we go, drop the beat." Fuse's Emilee Lindner compared Trainor's flow on the song to Mýa's 2003 single " My Love Is Like ... Wo", noting that the chord progression in the chorus is akin to the work of Max Martin. 's Brennan Carley and Time's Nolan Feeney compared its melody and guitar squeals to early Britney Spears and NSYNC songs. The instrumentation of "No" also makes use of whistles, described by Isabella Biedenharn of Entertainment Weekly as "a catchy sundae of whistles and sassy quips". Knoxville News Sentinel's Chuck Campbell called the song a "clubby/ girl-group rumbler".

"No" has lyrics about sexual consent and women's empowerment. The song discusses men who approach women and are unable to accept it when their advances are rejected. During its chorus, Trainor repeats the word "no" several times to emphasize the eternal nature and decisiveness of the word: "My name is no, my sign is no, my number is no." She proceeds to decline an assertive male counterpart's offer to dance with her and asks him to back off. Trainor affirms that she could court a man if she intended to, but it is not her priority. When asked about her inspiration for "No", she stated that she wanted to be better at being single, and wanted the song to help young women and teenagers realize they do not need a suitor, and that they "can go out with [their] girls and have just as much fun".

Music critics viewed "No" as a departure from Trainor's earlier work, showcasing her confident and mature side. Lindner called the song an improvement from the problematic lyrics on "All About That Bass" and Trainor's 2015 single " Dear Future Husband". Lynch stated that Trainor was more confident on it than her debut single, and proved that she has more to offer than what listeners expect. Carley thought Trainor gave up her " sock-hopping persona" in favor of straightforward free-spokenness on "No". MTV News's Lucy Bacon praised the empowering lyrics and catchy chorus, foreseeing greater success than "All About That Bass" for the song. Chris Conaton of PopMatters wrote that though it strays from the "doo wop and early girl group-inspired songs" that popularized her, it fits her area of expertise. Writing for Spin, Dan Weiss stated that with its TLC-influenced chorus, "No" alleviates the soft-hued trauma from "All About That Bass", calling the end result faultless and magnificent. The Los Angeles Times's Gerrick D. Kennedy thought that the song was way more suitable for clubs than others by Trainor. Glenn Gamboa of described it as Trainor's version of "the usual club tale", on which she was inspired by Destiny's Child to create an empowering song so memorable it would be difficult to escape.

Writing for ABC News, Allan Raible stated that though "No" is well-intentioned, it comes across as neoteric and is a diluted version of the Destiny's Child and En Vogue songs that precede it by several years. In a negative review, Slant Magazine's Alexa Camp likened the song to a suffragette's anthem and said it pretends that dismissing an uninvited admirer is the unsurpassed assertion of a woman's agency. Carvell Wallace of MTV News accused Trainor of appropriating the African-American accent, which she clarified was inspired by her father.

Billboard named "No" the 100th best song of 2016, writing that Trainor decimates the entitled male ego on it. The magazine noted that the song encapsulates the drivel a woman has to put up with before finding a husband. On the other hand, Time named it the eighth-worst song of 2016, noting that it appeared to be a corrective measure for criticism she had received for "espousing anti-feminist messages" in the past, but was insubstantial, unimaginative and repetitive.

Trainor's highest debut, "No" entered at number11 on the US Billboard Hot100 issued for March 26, 2016. The song debuted at number 21 on the Radio Songs chart, the highest entry since Lady Gaga's " Born This Way" (2011). On April 9, 2016, it moved from number12 to number six on the Billboard Hot100 and became Trainor's fourth top 10 entry. "No" peaked at number three in its fourth week on the chart. The Recording Industry Association of America certified the song 2× Platinum, which denotes two million units based on sales and track-equivalent on-demand streams. On the Canadian Hot 100, it reached number 10 and was certified 3× Platinum by Music Canada.

"No" debuted at number 59 on the UK Singles Chart issued for March 11. Following Trainor's performance of the song on The Graham Norton Show, it rose from number23 to its peak of number11 on April 15. The British Phonographic Industry certified it Platinum. In Australia, "No" reached number nine and was certified 4× Platinum in 2023. The song peaked at number 18 in New Zealand and was certified Gold. It charted within the top 20 of national record charts, at number one in Latvia, number two in South Africa, number three in Israel, number seven in Austria, number eight in Scotland, number 12 in the Czech Republic, Germany, Hungary, number 13 in Argentina, number 15 in Spain, and number 20 in Ireland. "No" received a 2× Platinum certification in Poland, Platinum+Gold in Mexico, Platinum in Spain, Sweden, and Gold in Belgium, Denmark, Germany, Italy.

Fatima Robinson directed the music video for "No", which was filmed on March 4, 2016. It premiered on Trainor's YouTube and Vevo accounts on March 21. To represent the new musical direction she took with the song, she wanted its video to be darker and more sexually charged than her previous works. Trainor aimed for it to be converse of her bright and colorful music video for "All About That Bass". She told Billboard during rehearsals that she danced "more than [she had] ever danced in [her] life" in the video. Trainor's stylist, Maya Krispin, picked outfits that Trainor could comfortably dance in, including a light metallic gold coat designed by Isabel Marant, a black sequined blazer by Veronica Beard, and a customized crimson outfit by Michael Costello. Krispin designed the rest of Trainor's ensemble: a black jumpsuit with a bra top and a fishnet bodysuit.

Critics observed the video's sexual nature as a noticeable departure from Trainor's previous work. It received comparisons to the work of Britney Spears among other artists.[73] [74] [75]

In the music video, Trainor walks in an abandoned warehouse filled with smoke and old machines. Dressed in a metallic silver jacket, she performs a choreographed dance routine with female backup dancers. Black and red shots of a female silhouette are interspersed with the routine, which MTV News's Sasha Geffen deemed reminiscent of 1990s iPod commercials. In another scene, Trainor, in a fishnet bodysuit, entwines her arms with the dancers, and brushes her cleavage; Evan Real of compared it to Spears' music video for " I'm a Slave 4 U" (2001). Trainor proceeds to sway her hair in front of a high-powered fan. It concludes with all previous scenes meshed with shots of women holding open flares.

Critics compared the music video to artists including Spears, Destiny's Child, and Janet Jackson. John Paul Stapleton of The Boston Globe opined that it shows Trainor's seductive side, reminiscent of Jackson in her heyday. Geffen thought the video features substantial 1990s pop overtones redolent of TLC. Lynch compared its atmosphere to 2000s Spears and 1990s Madonna videos, and Trainor's outfits to those the latter wore while promoting her album (1992). Lorena Blas of likened the choreography to the work of Missy Elliott, and Destiny's Child's music video for " Jumpin', Jumpin'" (2000).

Some reviewers directed praise towards the video for representing a change from Trainor's earlier work. Lynch thought it marked a shocking transition from the light colors and old-world adorable tone featured in Trainor's early videos, describing it as a sultrier look for her. Real thought the video recalled "killer choreography and coordinat[ed] outfits" popular in the early 2000s, which was new territory for Trainor. Joey Nolfi of Entertainment Weekly noted that unlike her video for " Like I'm Gonna Lose You" (2015), Trainor attempted legitimate pop star dancing in it. Billboard's Katie Atkinson described Trainor's look as stern and seductive, and found the video "very Y2K-leaning". Nick Maslow of called the dance moves keen and Trainor's hair in it worthy of becoming a popular GIF.

Writing for The Kansas City Star, Jeneé Osterheldt preferred the song to its music video but said Trainor's choice to be sexual in the latter strengthened the song's message: "Too often men think a woman's clothes or demeanor mean that [...] they are entitled to her body." In a less enthusiastic review, Spin's Rachel Brodsky found the visuals endearing but thought Nicki Minaj played the underground seductress better in her music video for " Only" (2014). Dennis Hinzmann of was critical of Trainor's dancing, noting the background dancers upstaged Trainor and made her look evasive.

Trainor performed "No" live at the 3rd iHeartRadio Music Awards on April 3, 2016; Lynch ranked it as the seventh best performance of the night, complimenting her vocal delivery but noting she looked uncomfortable executing the dance sequence. On April 8, she reprised the song on The Graham Norton Show. Trainor sang it on The Voice UK's fifth season finale on April 10, and The Ellen DeGeneres Show ten days later; she accompanied both performances with one-armed choreography. On May 22, 2016, she performed "No" at the 2016 Billboard Music Awards, in a multihued and spangly dress while strolling through the crowd; Rolling Stone was critical of the performance, deeming it one of the night's worst, it stated that Trainor failed to "sell her hit onstage" and was upstaged by the celebrities in the audience and their glowing wristbands. Trainor reprised the song for Today's Citi Concert series on June 21, 2016. She included it as the last song on her setlists for The Untouchable Tour (2016), during the encore, and the Timeless Tour (2024).

A cappella group Pentatonix released a cover version of "No" via their YouTube channel in April, which Trainor praised on Twitter. On April 7, Allison Iraheta and other contestants covered the song during the season 15 finale of American Idol. It is featured in an episode of the second season of American television series Superstore.

Credits are adapted from the liner notes of Thank You.

The song was recorded and engineered at Ricky Reed's Studio in Elysian Park, Los Angeles. Audio mixing was done at The Carriage House in Nolensville, Tennessee, and mastering at Sterling Sound in New York City.

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" No" (stylized in all caps) is a song by American singer-songwriter Meghan Trainor from her second major-label studio album, (2016). Ricky Reed produced the song and wrote it with Trainor and Jacob Kasher Hindlin; Epic Records released it as the album's lead single on March 4, 2016.

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Section of the text: "I am sure I shall never be happy without him."

Rationale: Lydia, already enamored of any man in a red coat, receives the thrill of her life from the dashing Mr. Wickham and sticks to him so that he’ll never get rid of her, confirming that there’s no other place in this world where she’d rather be.

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Section of the text: "I cannot bear the idea of being misunderstood or of causing uneasiness to him."

Rationale: This reflects Jane's gentle nature and her hesitation to fully reveal her emotions, as she prioritizes the feelings of others over her desires. It emphasizes her internal conflict about vulnerability and the fear of falling in love, which aligns with your description of her holding back despite having already found a place for her heart. Jane's struggle to be brave in expressing her feelings showcases the complexities of love and self-restraint.

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The Police-Every Little Thing She Does Is Magic 

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The Police-Every Little Thing She Does Is Magic 

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Section of the text: "My dear Miss Bennet, if you will not let me be an admirer, I shall not be able to resist. It would be very difficult to overcome such a state of mind."

Rationale: This line reflects Bingley's sincere affection for Jane and his admiration for her beauty and character. It captures the genuine and tender feeling he has towards her, which aligns with the theme of enchantment in "Every Little Thing She Does Is Magic." In both cases, love is portrayed as a captivating force that draws people together.

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" Every Little Thing She Does Is Magic" is a song by the British rock band the Police from their fourth studio album, Ghost in the Machine (1981). It was a hit single that reached the top of the charts in the United Kingdom in November 1981 and hit on the US Billboard Hot 100 chart that same year.

The song, unusual for including Jean Alain Roussel, a guest keyboardist, dates back to a demo recorded by bassist and lead singer Sting in the house of Mike Howlett in the autumn of 1976. The song has been described as new wave blended with reggae elements-the signature Police style. The popularity of "Every Little Thing She Does Is Magic" helped to make Ghost in the Machine one of the Police's most successful albums.

Written in standard time, "Every Little Thing She Does Is Magic" sets up a tension between the keys of D major and D minor, including portions of the song with no recognisable key. It ultimately resolves to D major, signifying the excitement of romance.

The song is characterised as new wave, with elements of reggae. Sting evokes a reggae feel by emphasising his bass guitar parts at the beats of four and one in the chorus, and Stewart Copeland's drumming has reggae flourishes. The chiming notes of Caribbean steel drums are heard at the chorus. Unlike other Police songs, it features an arrangement dominated by piano and synthesisers. The lyrics concern unrequited love, telling the story of a hapless romantic who has attempted to pursue a romantic interest for a long period of time, but is too afraid to do so.

Although the song was recorded in 1981, Sting wrote it in early 1977 around the time of the Silver Jubilee of Elizabeth II, prior to the formation of the Police. An early demo of the song can be heard on the Strontium 90 studio album Strontium 90: Police Academy (1997), which Sting recorded entirely by himself while the song was still fresh in his mind (according to Mike Howlett), using equipment in the loft of Howlett's home in Acton, London which included an acoustic guitar, a bass guitar, an African drum, a TEAC 4-track recorder and some cheap microphones. For Howlett, this demo is "a powerful testimony to the raw, undiluted talent that is Sting". The recording was made prior to the launch of the Portastudio in the late 70s, which Sting would later use for writing and demoing songs for the Police and so on. A second demo was recorded in January 1981 at Le Studio in Morin Heights, Canada, with Nick Blagona engineering:

This was first recorded as a demo, with the piano figure, in a studio in Montreal. I had written the song long before the Police were successful, but it seemed a bit soft for the band at first. But the demo was really great. It sounded like a No 1 song to me. I took it to the band, who were reticent, still thinking it was soft. I was saying, "But listen, it's a hit." We tried to do it from scratch as the Police, but it didn't have the same energy as the demo. After a degree of hair-pulling and torturing on my part, I got the band to play over the top of my demo.

Session keyboardist Jean Roussel was invited to play on the demo, to which he overdubbed multiple layers of piano, Minimoog synthesizer and clavinet. At the time, according to Roussel, Sting was considering using the song for a potential solo project before he decided to do the song with The Police. Sting later flew Roussel over to help re-record the track against the wishes of his bandmates Andy Summers and Stewart Copeland while they were recording the Ghost in the Machine album at AIR Studios, Montserrat. Summers did not approve of Roussel's inclusion in the track, claiming that he was "incredibly pushy" and that "there wasn't room for him. He must have played 12 piano parts on that song alone." Copeland, however, said that Roussel "wasn't pushy ... He was just like us actually."

Feeling that the arrangement of the track was not enough like the Police style, Summers (who recalled, "as the guitar player I was saying, 'What the fuck is this? This is not the Police sound'") and the band tried to "Police-ify" the track by attempting different arrangements and styles, but none of them clicked. However, as Copeland remembers, the remaining two members of the band had to overdub onto Sting's demo in the end:

"I remember saying, 'Okay put up Sting's original demo and I'll show you how crummy it is.' So Sting stood over me and waved me through all the changes. I did just one take, and that became the record. Then Andy did the same thing on the guitar. We just faced the music, bit the bullet, and used Sting's arrangements and demo. Damn."

In the chorus, Sting, not knowing any other word which would rhyme with "magic," used the word "tragic." Copeland said of this moment, "I remember Sting for years trying to think of a rhyme for 'magic', as in 'Every Little Things She Does Is Magic.' I think the only word he could come up with, apart from 'tragic', was 'pelagic', which means 'ocean going'. There I was in my leather pants and punk hairdo, pondering the distinction between ocean-going and river-going fish." This moment was, in his estimation, implied by scholars to be fairly comical.

Release and critical reception

"Every Little Thing She Does Is Magic" was released as the second single from Ghost in the Machine in UK and Ireland, while in most other parts of the world it was the debut single from the album. The song outperformed its predecessor in Britain, where it topped the charts. The song also hit No. 1 in Canada, Ireland and the Netherlands, No. 2 in Australia, and No. 5 in Norway. It reached No. 3 in America, making it and " King of Pain" the band's second-best-performing single there, after its No. 1 hit " Every Breath You Take".

The lyrics of the second verse, "Do I have to tell the story / Of a thousand rainy days since we first met? / It's a big enough umbrella / But it's always me that ends up getting wet," were reprised by Sting at the end of the song "O My God" issued on the band's next studio album. These lyrics were repeated once more in " Seven Days" on Sting's fourth solo studio album Ten Summoner's Tales (1993). He later re-recorded the song in an orchestral version for his tenth studio album Symphonicities (2010).

Record World said that "There's urgency here that demands repeated listening." The song received a positive retrospective review from AllMusic journalist Chris True, who praised the lyrics and described the song as "pop brilliance". Ultimate Classic Rock critic Mike Duquette rated the song as the Police's 4th best, calling it "a heart-pounding love song for the ages."

The song's B-side, "Flexible Strategies", was reportedly an improvised jam that was created in response to the record company's demand for a B-side. Stewart Copeland claims, "Word came down from the marketing machine 'Create a B-side - today! We walked over to the gear, strapped on, and played for ten minutes. A disgrace."

7-inch: A&M / AMS 8174 (UK)

1. "Every Little Thing She Does Is Magic" - 3:58

2. "Flexible Strategies" - 3:44

7-inch: A&M / AMS 9170 (NL)

1. "Every Little Thing She Does Is Magic" - 4:05

2. "Shambelle" - 5:10

7-inch: A&M / 2371-S (US)

1. "Every Little Thing She Does Is Magic" - 3:58

2. "Shambelle" - 5:06

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Every Little Thing She Does Is Magic - Wikipedia

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" Every Little Thing She Does Is Magic" is a song by the British rock band the Police from their fourth studio album, Ghost in the Machine (1981). It was a hit single that reached the top of the charts in the United Kingdom in November 1981 and hit on the US Billboard Hot 100 chart that same year.

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Section of the text: "You have bewitched me, body and soul, and I love, I love you."

Rationale: Both pieces convey the idea that true love involves accepting another person in their entirety, highlighting the profound connection and devotion shared between partners.

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Dancing Through Life (from Wicked) by Cody Carrera

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Dancing Through Life (from Wicked) by Cody Carrera

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Section of the text: "I have been obliged to give up my own feelings in order to make others happy."

Rationale: The ultimate player, Mr. Wickham lives the unexamined life, skimming the surface and sluffing off his duties time and again; he avoids stress and thinking too hard to mindlessly and carelessly dance through life. Caught out by Mr. Darcy, he remains thoughtless rather than owning up to the errors of his ways.

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Dancing Through Life (From "Wicked the Musical") by Cody Carrera

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I was in the studio working on new material and covered "Dancing Through Life" from "Wicked, the Musical" for an audition and decided to release it for fun. "Wicked" is my all time favorite musical and I had a blast putting my spin on this song. 

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