It was at 17 years old that a young Chappell Roan uploaded an original song to YouTube named “Die Young.” Atlantic Records saw her unique sound and talent before promptly signing her on. However, it was not until 2021 that her debut single “Pink Pony Club” took off and pushed her to make a name for herself. Since then, she’s released several singles before finally releasing her debut album “The Rise and Fall of a Midwestern Princess” in 2023. Her style is known to mix elements of 80’s pop and indie. Her physical style is extremely recognizable, as she wears a very pale foundation with bright eyeshadow and lipstick to emphasize her ground-breaking and unique place in the pop realm.
“Good Luck, Babe!” starts with Roan singing in first person to a mysterious ex-romantic interest. Roan assures the listener “It’s fine, it’s cool. You can say we’re nothing but you know the truth.” This hints at a lack of ability to commit towards whoever she is singing to, saying that even if this person claims their relationship is nothing, there is more to it. Roan then continues with “You can kiss a hundred boys in bars, to try and stop the feeling.” By singing this, she hints at her love interest possibly not being comfortable with herself and her identity. Roan is known to be a lesbian woman, and she claims that their ex-lover is in denial of their sexuality.
Then, Roan sings passionately about how “When you wake up next to him, you’re nothing more than his wife.” and “When you think about me all of those years ago, you’re standing face to face with I told you so.” This is a direct call out of the pain that this person caused Roan through being scared of commitment and their sexuality, and how they are going to be filled with regret and longing by the end of their life, wishing they could have had the freedom to be who they truly are.
Many people, especially adolescents, are figuring out who they are and may be confused about their identity. Source
It was first in 2006 that Matt Schultz, Brad Schultz, Daniel Tichenor, and Jared Champion had a homeless man approach them and repeatedly say the phrase: “You have to cage the elephant.” The inspiration for a genre-bending band would form, which would go to be known as Cage the Elephant. Their style is known to be mixed of elements of rock, punk, folk, indie, house, and pop. Their discography is made up of five studio albums, two live albums, and 17 singles. Their debut album, Cage the Elephant, released in 2008 peaked at 59 on the Billboard 200 with some of their most recognizable songs such as “Ain’t no Rest for the Wicked” and “Back Against the Wall.” However, the album that truly established them as a staple in alternative music was Melophobia, which houses the song “Cigarette Daydreams.”
Cigarette Daydreams opens with the narrator singing to someone in first person, using terms such as you, and asking questions to the listener such as “Did you stand there all alone?” In response, the listener “sighs and looks away” according to the narrator. This shows tension between the narrator and the person he’s singing about, displaying the lack of communication in their relationship while the narrator is attempting to reach out.
The song continues how this other person is “driving all night in the pouring rain, searching for answers.” This could display a struggle on the part of this anonymous figure and demonstrate a disconnect with the narrator. The singer continues to say “You were only 17,” keeping the insinuations of these lyrics fairly vague. This could mean that the narrator is implying that this other person is going through a hard time, or it could hint at the guilt that the narrator feels for possibly doing something to contribute to this person’s hardships.
Then, the singer continues to say “If we can find a reason, a reason to change,” this could confirm the difficulties that both the narrator and the other person are experiencing together. This could perhaps hint at a toxic relationship between the two sides, as he sings earlier “So sweet with a mean streak, nearly brought me to my knees.” The narrator then goes on to state “If you can find a reason, a reason to stay.” This could hint at the end of their relationship, possibly due to the narrator’s treatment of this other person being too much in an already difficult time of youth. This song could also represent the ending of childhood youth and the fondness and complexity of the time, how it’s both sweet and a time of self-discovery.
Finding yourself is a key part of growing up. Source
This past Sunday, the Grammys, the most prestigious and significant award show in music, took place. It is always entertaining to tune in and experience the suspense of waiting to figure out whose name will be announced as a winner. It is also upsetting at times when your favorite artist or song does not win the Grammy you think they rightfully deserve. However, I was not upset when Billie Eilish won big this year, taking home the Grammy for Song of the Year for her song “What Was I Made For?” which is a part of the Barbie soundtrack. Therefore, covering what the Grammys perceived as the song of 2023 for this week’s blog post is only fitting.
Right when Billie Eilish debuted in the music scene, she caught the general public’s attention. Her debut single, “Ocean Eyes,” garnered hundreds of thousands of listens within two weeks of its initial release on SoundCloud. The track’s virality got her a record deal with Interscope Records. Subsequently, she released her debut EP, Don’t Smile at Me, in 2017, which peaked at number 14 on the Billboard 200 Chart and has since reached 1 billion streams on Spotify. Then, in 2018, she began releasing singles such as “You Should See Me in a Crown” and “When The Party’s Over” for her debut album When We All Fall Asleep, Where Do We Go? Eilish received her first Billboard Hot 100 number one with the track “Bad Guy,” which was released in conjunction with her album in 2019. Her sophomore album, Happier Than Ever, received similar success to her debut album. In 2023, Eilish released “What Was I Made For?” for the Barbie soundtrack and received universal acclaim as the song was featured on many year-end lists for song of the year, including lists by Rolling Stone.
Eilish melancholically begins “What Was I Made For?” with what seems like the formation of an existential crisis. She does not feel like her usual self, the girl who usually “floats” and feels content. Instead, she feels lost about the role she plays in society and now “falls down,” signifying a shift in her mood and stance in society. She questions why she was put on this Earth, showcasing her yearning to know her true meaning in life. Then, in the second verse, Eilish expresses that even though she looks alive, she is “not real” and something the audience of the song “paid for.” This reveals that she discerns the general public views her as an object and someone they can use for their satisfaction and entertainment, a common theme among other public figures and celebrities since their lives are broadcast for everyone to see.
In the chorus, Eilish begins to touch upon judgments placed on women. She does not know how to feel because people, specifically men, often criticize women for being too dramatic or overreacting about little things. Therefore, she is afraid to speak up about what she feels because anything she says will be blown out of proportion by the general public. Yet, she wants to try and overcome this astigmatism placed on women.
This post echoes Eilish’s meaning of “What Was I Made For?” Source
In 2020, American singer-songwriter Taylor Swift surprised the world with her eighth studio album Folklore”. With this album’s making, Swift was stepping into unknown territory. Folklore is predominantly an indie folk album — a switch from the usual pop production in her previous works. Additionally, she took a new approach to her songwriting. She did not mainly write about events or experiences that happened to her and instead created a fantastical world where she would write from different viewpoints of the characters apart of her made-up world.
Swift is an artist who requires no introduction for her unprecedented impact on the music industry and pop culture, though I will still introduce her. Initially, Swift began releasing country music when she signed with Big Machine Records, a record label distributed by Universal Music Group. She started to capture the general public’s attention with her self-titled debut album but she was launched into the limelight with singles such as “Love Story” and “You Belong with Me” from Fearless, her second studio album. Subsequently, she delved into the pop realm of music with her fifth studio album, 1989, which contains several classics such as “Shake it Off,” “Blank Space,” and “Bad Blood.” Later in her career, she redirected to a more folkish sound with Folklore and Evermore but soon returned to the pop genre. She then had a series of re-recordings for a majority of her albums, following a dispute with her ex-record label regarding the ownership of the masters to these albums.
“peace” was released as a part of Folklore. Swift begins by acknowledging the growth in maturity between her and her partner as their “coming-of-age” has passed. She further acknowledges that she never had the “courage” to fully commit to her past relationships. Now, she is ready to take that step, however, she recognizes that there is a “danger” that comes with being in a relationship with her. Her widespread fame due to being a pop star could be disturbing for her partner, and she fears that she could never give them “peace.” Yet, Swift wants to prove that she can provide some tranquility to her partner as she likens herself to a fire that will keep their heart safe and “warm.” She references the general public and their criticisms of the possibility of their relationship being “just for show” and to gain publicity, but reveals that she would go as far as to die for her partner. She then questions if it would be okay if she could never give her partner the peace they deserve in a relationship.
Taylor Swift being mobbed by fans, a portrayal of her stardom. Source
English singer and record producer Victoria Beverly Walker, known professionally as PinkPantheress, has recently released her debut album, Heaven Knows, with the upbeat track “Mosquito” serving as the lead single for the album. Like most PinkPantheress tracks, “Mosquito” is short in length, however, her production skills never fail to satisfy the listeners’ ears and draw their attention. She has created her own genre by blending various types of music, such as alt-pop, drum and bass, and 2-step garage. She also draws influences from pop-punk, emo, and K-pop, which make for a colorful array of music that she somehow makes work together. Although Heaven knows is her first album, her music journey does not start there.
PinkPantheress first broke out into the music scene when she started uploading snippets of her songs to TikTok. Her first snippet, a piece of her song “Just a Waste”, went viral on TikTok and provided her with the momentum to release her debut singles “Break it Off” and “Pain.” She possessed and showcased a strong following from her virality on TikTok as “Pain” peaked at number 35 on the UK Singles Chart. She soon released her next single, “Just for Me,” which showed growth in her following as it peaked at number 27 on the UK Singles Chart and garnered her several nominations from premiere award shows such as the iHeartRadio Music Awards and the NME Awards. The series of singles culminated in PinkPantheress releasing her debut mixtape, To Hell with It, which received universal acclaim from critics and the general public. Following her mixtape, she released a new EP entitled Take Me Home that includes the single “Boy’s a Liar,” which she released a remix for with up-and-coming rapper Ice Spice.
“Mosquito” begins with PinkPantheress posing a question about seeing someone or something that cements the primary theme of the track as the following line clarifies the thing she is requesting to see, her “numbers,” or money in her bank account. She then indicates that her lack of control over money might be “annoying,” since she immediately spends it when she catches a glimpse of something she wants. This reveals her guilty conscience with the massive amounts of money she spends. She begins conversing with her wealth and asks for its permission to spend more on another day she desires, further emphasizing her guilt. PinkPantheress recognizes that the amount of money she spends is “appalling,” showcasing her yearning for improved spending habits.
In the chorus, PinkPantheress recounts a dream where she had died, and the only reason she cared about dying was that she was taken away from her fortune. This demonstrates her unhealthy relationship with her finances since it has become apparent she prioritizes the amount of money she makes over everything else in her life, even family and friends. She has lost the appeal in everything that makes life beautiful and enjoyable. She is noticeably taken aback by the dream and asks, “What happened to me?”
PinkPantheress pictured carrying bags of designer brands for her music video, showcasing her habits. Source
New Zealand singer and songwriter Ella Yelich-O’Connor, known professionally as Lorde, took a new step in her career when she released “Liability” as the second single from her ground-breaking sophomore album Melodrama. Up to this point in Lorde’s career, she had never released a piano-driven ballad nor written something so deeply personal for the world to listen to. However, I (and all of Lorde’s fans) am extremely grateful that she gave her listeners a taste of how great a sentimental songwriter she can be. Lorde can make the listener feel every word she sorrowfully sings because I believe she is incredibly talented, and “Liability” clearly shows her evolution from her debut album as an artist.
Lorde impressively received massive success from the beginning of her journey into the music industry. Her debut single, “Royals,” from her first EP, The Love Club, became an instant hit worldwide, peaking at number one in the United States on the Billboard Hot 100. The track also topped performance charts in several other countries and became certified diamond by the Recording Industry Association of America (RIAA) for selling more than 10 million units worldwide, becoming one of the best-selling singles of all time. Additionally, the song was critically successful, with many music critics praising “Royals” for its songwriting, production, and Lorde’s vocal performance, and appeared on many critics’ year-end and decade-end song lists. The track also garnered two Grammy’s for Song of the Year and Best Pop Solo Performance. Lorde’s impressive track record does not stop here, as her sophomore album Melodrama is widely regarded as one of the best pop albums of the 2010s and was ranked amongst the top 500 albums of all time according to rankings made by Rolling Stone.
Lorde begins the track by stating how her “baby” hurt her and caused her to cry in a taxi because he confessed that he made the mistake of “dancing in [her] storm.” She compares her way of being or likeness to a storm to represent that she is tumultuous and chaotic, which is perhaps a lot to handle for someone who wants to be in a relationship with her. She has perceived that dealing with her antics has become too excessive for her significant other because he claims that “he don’t wanna know [her]” anymore. Following this, due to her sorrow from her partner’s remarks, she decides she should simply stay home with her only company being herself. She states that she will go home “into the arms of the girl that [she] loves,” with the girl that she loves being herself. She further states that she’s very “hard to please,” recognizing that she is the cause of the failure of her relationships because she is too high maintenance and requires a lot from her partners. The first verse signifies that she is unfortunately self-aware of her being a liability to the people that she loves. The chorus reinforces the thought of Lorde sensing herself as a liability as she mentions that people would say to her, “You’re a little much for me.” She then concedes her self-worth and painfully states she is “a little much for everyone.”
Then, in the second verse, Lorde reduces herself to a “toy” that people use until they become tired of her. This references the “honeymoon stage” of the relationships that she was in; people love the thrill of dating Lorde initially. However, as time progresses and they truly get to know her, her partners become exhausted from having to deal with her, making her a liability to them.
In celebration of American singer-songwriter and multi-instrumentalist Sufjan Stevens releasing his milestone 10th solo studio album entitled Javelin, I will be covering one of his not-so-celebratory tracks, “Fourth of July”. Very few songs have been able to make me cry when I first listen to them, yet when I first listened to “Fourth of July” I became an emotional wreck. The track is a conversation Stevens had with his mother while she was in the hospital before she passed away from stomach cancer. Although it is an extremely sorrowful song, I believe it deserves a post on my blog as it is one of the most powerful tracks I have ever listened to.
Sufjan Stevens is no stranger to the music industry, as he began his solo career in 2000 when he released his debut album, A Sun Came. However, it was not until 2015 when Stevens released his seventh studio album, Carrie and Lowell, that he would gain the most notoriety in his career. Carrie and Lowell instantly garnered acclaim from critics as it was placed on several lists from critic sites for best albums of the decade. The album was praised for its extremely vulnerable overarching theme, the depiction of Stevens’ life, and the effects of his relationship with his mother Carrie, and his stepfather Lowell. Soon after that, Stevens received even more success and attention from the general public from his involvement in the soundtrack for the popular coming-of-age romantic drama film Call Me by Your Name. “Mystery of Love” was released as a single and original song for the soundtrack by Stevens and was nominated for an Oscar for Best Original Song and the Grammy Award for Best Song Written for Visual Media. The song is also Stevens’ most streamed song, currently sitting at around 400 million streams on Spotify.
The track’s production, “Fourth of July” immediately creates a landscape and ambiance of heartbreak and grief. Stevens begins the song by establishing the theme, he’s grieving the death of his mother, as he sings that it was night when she died. He refers to his mother as a firefly to represent the warm light she was, and further underlines that his mom was a light in his life as he yearns to “be the sky on the Fourth of July”. In saying this, Stevens is comparing his mom to the beautiful fireworks that light up the sky on the Fourth of July, and compares himself to the night sky; the darkness that allows the mesmerizing lights of the fireworks to shine.
In the chorus, Stevens switches to the perspective of his mother. Stevens’ mother asks him “My little hawk, why do you cry?”, symbolizing the love and endearment she has for her son. She then proceeds to allude to the Tillamook Burn, a series of large forest fires that burned down the Tillamook forest in the northern Oregon Coast Range, and the Fourth of July. From these allusions, Stevens’ mother asks her son what he learned from these two instances in American culture in an attempt to make him realize that beauty, which she represents using the Tillamook Forest and the fireworks on the Fourth of July, does not last forever, and she wants to ease him into the idea that she will soon be gone.
Then, in the second verse, Stevens reconciles with the fact that even though he loves his mother, she abandoned him when he was an infant due to her depression, schizophrenia, and alcoholism. He sings that his mother had a “halo at [her] head” in her hospital bed, representing her angelic appearance. However, he then questions whether or not she is truly an angelic person, since he knows a limited amount about her. In the last verse, Stevens transitions to his life right after his mother’s death, detailing that the hospital asked him whether his mother’s body should be cast. Then, in his mind, Stevens asks his late mother if she finds it all right that she will be wrapped up in cloth and cast, signifying that he misses his mother deeply and cares for how she would feel if she were cast.
Finally, Stevens closes out the song by repeatedly singing “We’re all gonna die”, emphasizing the heartbreaking and depressing nature of the song. However, I believe a hopeful connotation is attributed to this mantra, as the listener is left with the idea that they should be at peace with the concept of death, just like his mother.
On the first listen, “ceilings” by Lizzy McAlpine starts as the quintessential love song we have all wanted but then unexpectedly shifts gears during the outro and becomes a heartbreaking reflection on a past relationship. Before we dive into the discussion, we must discuss how Lizzy McAlpine accrued such success on “ceilings.” After gaining viral traction on TikTok, which then translated into worldwide recognition, American singer-songwriter Lizzy McAlpine grew a name for herself as her talent shines through her songs. Her incredible songwriting and soft, stunning voice on this track were enough to entice her listeners and make them into fans.
“ceilings” was released as a part of McAlpine’s third album, Five Seconds Flat (stylized in all lowercase) on April 8, 2022. The album was well-received by critics. Before this, McAlpine had released two albums, her debut album entitled Indigo, which can no longer be found on Spotify or Apple Music, and Give Me A Minute. Neither of these albums initially ever really gained any success compared to her most recent album, however, that does not mean her first two albums are not a pleasure to listen to whenever they come on. On Give Me A Minute, Lizzy McAlpine garnered a small hit with the single “Pancakes for Dinner,” which currently sits at around 30 million streams. Nevertheless, it is apparent McAlpine was moving into the spotlight after “ceilings” as she performed on live television for the first time in her career for The Tonight Show with Jimmy Fallon.
McAlpine begins “ceilings” by making it evident that she is yearning for her partner while looking up and noticing the “plaster” on the ceilings. She wants her partner to make time move faster as she enjoys spending time with them and alludes to the ideology that time moves faster when you are having fun or enjoying yourself. Then, McAlpine reinforces that she is in love with her partner by calling them “cute” and enjoying the experience of getting rained on and having her “shoes full of water”. This experience may seem unpleasant as I know I feel disgusting after being drenched by the rain, however, this showcases that whatever McAlpine does with her significant other is something that she adores, even if it is typically an unpleasant experience. She then switches the scene to her partner driving her home to drop her off after spending time together. It is displayed that she is reluctant to leave because she loves her partner’s presence, but she must leave. However, before she leaves they share a kiss in the car which invokes a reminiscent feeling within her as she feels like this moment is “like the start of a movie [she’s] seen before.”
McAlpine starts the next verse by returning to the common theme expressed in the track, she shares an intimate moment with her partner, yet she displays indecisiveness on whether or not she wants to express her love for them because she does not want to ruin the moment. She then sings that it is “lovely to sit between comfort and chaos”, which describes the predicament that McAlpine is currently in; she is in the moment where it is the start of the relationship but she does not truly know what she and this person are quite yet. However, McAlpine then begins to reveal that everything she was discussing was just a fantasy as she reveals “It’s not real”, referring to the moments she was sharing with the listener. She was just flipping through the memory book she captured of them in her mind and reminiscing. Finally, she closes out the song by once again referring to the feeling of this past relationship as a movie, however displays closure as it is now the end of the movie, and her ex-partner is left in the past.
McAlpine shows signs of getting over the past relationship she once cherished.
Recently, “Harbor” by Clairo has maintained a chokehold on me (do not ask why) and has become one of my staples for when I want an alluring and tragic song to play. The simple instrumentation of the single piano is held throughout most of the track, accompanied at points during the chorus by an acoustic guitar and drums. It isn’t a lot. However, American singer-songwriter Clairo, known by her friends and family as Claire Cottrill, and her co-producer Jack Antonoff can make the listener hooked by her smooth and pleasantly airy vocals.
These techniques are not new for Clairo as she has been releasing music since she was only 13 years old. Unfortunately, these early tracks are unable to be found online, though we can still find her first big hits on all streaming platforms. Her songs “Pretty Girl” and “Flaming Hot Cheetos” are to be considered her first songs that have viral traction because of their mellow production. However, her biggest hit of all time, titled “Sofia,” came from her debut album Immunity released in 2019. “Sofia” currently has more than half a billion streams on Spotify and was classified as a “sleeper hit” after it went viral on TikTok more than a year after its release. Clairo then released her anticipated sophomore album, Sling, two years after she released her debut. Sling was highly praised by critics and showcased a mature development in Clairo’s ability as an artist.
“Harbor” opens up with Clairo reflecting on a past relationship and coming to the realization that she has “kept [her] faith for long enough” in something that is not mentally beneficial for her, as her partner is not showing her any signs of affection or care. She has waited a long time and stayed in this relationship, pondering when her significant other would ever start to show her that they loved her again, however, that moment never came and she has decided to give up. Clairo begins to overthink everything about her relationship and wonders if her significant other “kept [her] around” solely for the “constant affirmations” she would give them but would never receive back. Nevertheless, Clairo still wants this person in her life even after their anticipated falling out and disappointingly sings that she would let them win and “tie the ribbon” to her hair in case maybe there was a chance they would come back to their broken relationship. From this, Clairo is highlighting how even though she is not getting the attention she deserves from this person, she is still willing to let them come back into her life after she ends their relationship and that she’d be waiting at the “morning gates” for them.
Then, Clairo employs the analogy of how she is carrying all of this other person’s baggage and emotional turmoil as she “carried [them] upstairs” so they can peacefully sleep while Clairo is doing all of the work for them in the relationship. Clairo is left to deal with the thoughts that race her mind due to the state of the relationship and her overthinking. Additionally, Clairo reveals that in a way she represented her partner’s fears, yet they would keep her close and reveal that they “don’t love [her in] that way”. Because of this relationship, Clairo has begun to “harbor [herself] away from everyone else”, detailing that the relationship has taken a mental and emotional toll on her and that she needs time to herself to cope and reconcile from the damage her partner has done. She is ready to “swallow the pill” and finally separate herself from this relationship and release herself from the heartbreak she has endured. She was in a situation of unrequited love, and she was extremely devoted to her partner, however, they were not displaying these feelings back to Clairo.
These signs perfectly capture what Clairo was feeling throughout her relationship. Source
The night I write this blog post, American singer-songwriter, and actress Olivia Rodrigo is releasing her sophomore album, GUTS. Olivia Rodrigo is one of my favorite artists, as her music and lyricism are relatable, exude teen angst, and often take the listener through a journey. One of my favorite songs by her, “Favorite Crime” (stylized in all lowercase), happens to be my second most played song ever. For anyone who has ever been through heartbreak (which I presume is almost everyone reading this), the song’s clever yet relatable lyrics and acoustic instrumentation will be enough to tug on your heartstrings.
For background, Olivia Rodrigo began her venture into the spotlight as an actress on Disney Channel: first on Bizaardvark in 2016 and on High School Musical: The Musical: The Series in 2019. She garnered her first big hit with “All I Want”, a song on the soundtrack for High School Musical: The Musical: The Series, which peaked at #90 on the Billboard Hot 100. However, this was just the start of her career. Approximately a year after “All I Want” hit its peak virality, Olivia Rodrigo released her debut album, SOUR, which became the first debut album released this century to spend over a full year in the top 10 of the Billboard 200. Technically, all of the songs on Rodrigo’s debut album could be classified as hits as SOUR became the first album in Spotify history to have all of its songs surpass 200 million streams. However, the biggest hits of the “SOUR era” were definitely her debut single “drivers license” and third single “good 4 u”, both of which have surpassed 1 billion streams. Additionally – – from her debut album, she was awarded 3 Grammys for her hard work and talent. Despite being in her debut era, Rodrigo accomplished the unthinkable; things that many experienced artists who have been in the industry for years couldn’t do.
“Favorite Crime” was released alongside SOUR on May 21, 2021. She claims in the first line of the song that the person she loved so much that she allowed them to mistreat her was a willing accomplice in the “crime.” Then she adds that the individual fled the scene and was doe-eyed. It appears that he is attempting to present a façade of innocence about the breakup because “fleeing the scene” refers to leaving the scene of a crime, and “doe-eyed” generally denotes innocence. “One heart broke, four hands bloody” is a lyric that emphasizes her message conveyed throughout the song because it refers to how only her heart is broken yet how they are also responsible.
Then, in the second verse, she reinforces the message from the first verse: she was madly in love with her partner and stood up for them when they misbehaved, but when they “crossed the line,” they were nasty to her. Even though the relationship was toxic (“every time a siren sounds”), she is still devastated and would return to the person (“You know that I’d do it all again”). In the bridge, she elaborates more on this ambivalent sensation. She proceeds to exclaim in the bridge, “It’s bittersweet to think about the damage that we do” — reminiscing about the relationship is bittersweet. “Cause I was going down but I was doing it with you” supports her overarching theme; she was compromising her morals, but it was okay because she was doing it to stay with her partner.
Finally, in the chorus, Olivia emphasizes her metaphorical comparison of her relationship and everything she did for her partner to a crime and deems herself as a hopeless romantic. Even though she may regret the things she did for him and that she would consider them as “criminal” deeds, she hopes that her partner appreciates them and hopes that she is her partner’s “favorite”. She plays off the common “partners-in-crime” trope; usually, this has a positive connotation to describe a couple who are so attached/love each other so much that they would commit crimes together.
A hopeless romantic often reminisces on past failed relationships. Source
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