"Wanna Be That Song" is a song co-written and recorded by American country music artist Brett Eldredge. It was released on May 23, 2016 as the third and final single from Eldredge's second studio album, Illinois. Eldredge wrote the song with Ross Copperman and Scooter Carusoe.

According to Eldredge, the idea for the song came when he was about to walk on stage to perform at the Kansas Speedway, and he said to songwriter Scooter Carusoe: "I want to write a song called "Wanna Be That Song"." However, the song was not written until three months later in a writing session with Carusoe and Ross Copperman, who is the producer of his album. Eldredge said of the song: ""Wanna Be That Song" has everything I want to say about love and about what I'm trying to be."[1]

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The song first entered the chart when the song became available for download as a preview single in advance of the release of the album Illinois. Based on 16,000 copies in sales,[2] the song debuted at No. 34 on Hot Country Songs for chart dated September 26, 2015.[3] When the song was released to radio as the third single from the album in 2016; the song debuted on Country Airplay at No. 58 for chart dated June 4, 2016;[4] It also debuted at number 57 on the US Billboard Hot 100 chart. The song peaked at No. 3 on Hot Country Songs, and reached No. 1 on the Country Airplay chart in December 2016, making this Eldredge's fifth No. 1 on the chart.[5] The song has sold 410,000 copies as of August 2017.[6] The song also reached at number 25 on Canada Country chart for the week of November 25, 2016.

As I sat down to write a few lines on the instantly arresting new song from Alabama Shakes, a swarm of blue-headed birds touched down on my front lawn, pressing right up against my window. Thanks, nature, for giving me a metaphor! That swarm is what this deep soul track from one of the decade's most promising young bands is all about.

By the third verse, this isn't just personal: Howard is singing about the daily strife of working people, "the constant dedication, keeping the water and power on." This is where "Don't Wanna Fight" connects with Curtis Mayfield, Betty Davis and Bobby Womack: Deep soul music shows how every social struggle is the sum of many individual ones, survived in real time. The band refocuses, laying hard into the groove, until a few screaming lines from guitarist Heath Fogg signal a push upward. Howard's voice swells, multitracked, and grows beautiful. The swarm lifts, for now.

"Don't Wanna Fight" is just a taste of what Alabama Shakes accomplish on the new album Sound & Color, to be released April 21. Produced by Blake Mills, it shows the foursome digging into music history, touching on psychedelia and punk, gospel and classic rock and more, while maintaining the zeal that instantly attracted so many listeners when the group burst forth from Athens, Alabama in 2011. This is the heart of soul music: transcendence intertwined with an unflagging sense of being in the thick of life, the sound of ordinary people heroically getting by. To live is to face the fight. To not want to fight is to live. Fly on.

The Pop Song Professor project is all about helping music lovers like you to better understand the deeper meanings of popular song lyrics so that you know what your artist is saying and can enjoy your music more.

First off, if this isn't jungle-beat EDM, I don't know what it is. I certainly don't want to point fingers, but Maroon 5 is drinking the kool-aid at some level or another, right down to the funny, scrunchy voice modulation in the first few seconds. I know that sounds critical, but it's a good sound, and they do it well, so I like the music. But what of the lyrics? Let's take a closer look...

After the scrunchy voice modulation sings, "Oh, hey," a few times, Adam Levine begins singing about what seems to be a relationship that went south. He doesn't "wanna know . . . / Who's taking you home . . . / And loving you so . . . / The way I used to love you, no." Maroon 5's songs are commonly about sex, and this one is only different because it's not Adam Levine who's having the sex. Here, he's feeling bad because his old flame is going out with someone else, and he wants to know as little possible about how things are going with her.

Here, Levine sings, "Wasted . And the more I drink, the more I think about you." He's quickly painting a picture of him alone or at a bar thinking about her as he hunches over a bottle of beer or some other drink. He "can't take it" because "every place I go reminds me of you." He can't get away from her.

The pre-chorus of "Don't Wanna Know" is about Levine wondering if she "think[s] of me" and "what we used to be." He wants to know if it is "better now that I'm not around." And he continues, "My friends are actin' strange, they don't bring up your name." They feel awkward about it around him and don't want to trigger his emotions.

But the question he comes back to is one either of concern for her or one that comes from a need for self-validation. He asks, "Are you happy now?" He may be wondering if he was the problem here or he may be trying to prove to her that she actually was happier with him.

The second verse of "Don't Wanna Know" is Levine refusing to accept the truth of what's happened. He sings, "And every time I go out, yeah / I hear it from this one; I hear it from that one / That you got someone new." He knows that she's moving on, but he's in denial--he doesn't "believe it," preferring to imagine "you're still in my bed." In a moment of self-doubt, he sings, "Maybe I'm just a fool," and perhaps wonders if he should just let her go.

Kendrick Lamar takes over in the third verse of "Don't Wanna Know," and he makes it very clearly about sex. He raps, "No more, please stop / No more hashtag boo'd up screenshots." According to Urban Dictionary, "boo'd up" means to be in a relationship with someone. He wants her to stop sharing so much about her relationship, and based on the next line, he seems to think the sharing's directed at him: "No more tryin' make me jealous on your birthday."

But, after a change of heart and his personal decision that he's the only one who knows how to please her enough, he raps, "Matter fact, never mind. We'll let the past be / Maybe his right now, but your body's still me." He seems confident that she'll come back to him because of how much she wants to be "wooed" by him.

There's not too much to say about "Don't Wanna know" other than to maybe suggest that the type of sexual power Lamar's narrator seems to think he has over the woman sounds unhealthy and manipulative. If the only thing he's confident enough to be able to brag about being able to give her is physical stimulation, I'm not really surprised she left.

Hi! I'm a university writing center director who teaches literature classes and loves helping others to understand the deeper meanings of their favorite songs. I'm married to my beautiful wife April and love Twenty One Pilots, Mumford & Sons, Kishi Bashi, and so many others!

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Given that exposure to sexual messages in song lyrics can influence sociocultural norms and expectations surrounding consent communication between partners, we sought to understand the types of messages regarding sexual initiation and consent language that are available to media consumers. Through the lens of sexual script theory, we conducted a quantitative content analysis of sexual consent in pop (n = 197), hip-hop (n = 193), and country songs (n = 194) from 2016 to 2019. Differences in these messages were examined across singer gender, music genre, and time (pre- vs. post-#MeToo). Results indicated that references to sexual demands (e.g., "Strip that down") and sexual preferences (e.g., "I want it slow") were the most common types of sexual communication, appearing in approximately one-third of the singing parts included in the sample. Sexual suggestions (e.g., "Let's get nasty") and sexual requests (e.g., "Can I hit it?"), on the other hand, were the least common. References to inferred consent (e.g., "I can tell you wanna f***") appeared in approximately one-fifth of the singing parts. Both sexual demands and sexual preferences were more likely to appear in pop compared to hip-hop and country songs; however, these sexual communication messages did not significantly differ by male and female singers. Sexual requests were significantly more likely to appear in pre-#MeToo song lyrics. The messages embedded in popular songs may help to reinforce problematic scripts around sexual consent.

It's a remarkably straightforward song by PSB standards. The most interesting part, at least from a lyrical perspective, comes in the final stanza, when the song's protagonist, a "lonely boy" with "his head in the clouds," who has always preferred staying at home to going out on the town, is lifted from his solitude by a song:

On a very personal note, I identify strongly, at least in retrospect, with this song's central character. Back in my high school years, I, too, was a "lonely boy" who would sit alone in my room listening to music, feeling shy, isolated, and misunderstood. Although during the school year I was usually out on Friday nights involved in school sports programs, I would always "stay in" Saturday nights. And when school wasn't in session, I'd stay in Friday nights as well. Music was, more often than not, my only companion, and I would spend hours listening to my stereo. But, unlike this song's protagonist, it wasn't a song that got me out of my room. In fact, in some ways music helped keep me there, at least making my isolation more tolerable. Rather, it was finally leaving home and heading off to college that began my process of removing the walls I had built around myself. Nevertheless, I do see quite a bit of my teenage self in "I Don't Wanna." 152ee80cbc

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