Just now, Scone1 said:

If you say so

Not sure what the need for the rudeness is?

Just now, JosephBoone said:

Not sure what the need for the rudeness is?

And especially over bloody Ordinary of all things to behave like that over 😂

2 minutes ago, Jessie Where said:

And especially over bloody Ordinary of all things to behave like that over 😂

They're very sensitive in the Warrensphere.

This may amount to bullying ☹️

I don’t really get Joseph he starts talking to people like children if he gets a response he doesn’t like. The guy isn’t being rude he just doesn’t agree with your sweeping generalisation. Nobody has to respect the song but it’s liked by many members for sure and I don’t know who decides what is considered a buzz jack type of song

Never got the immense amounts of love for Ordinary nor have I got the immense amounts of hatred for it. It's as 5/10 as it gets. It's not the second coming of Christ nor is it a crime against music... I will not be putting respect on Alex's name and I will not be calling him evil because his mediocre song has been number one for eons. Some of the discourse has been interesting/funny but it's just getting exhausting now and I hope the song just goes away ASAP

I’m sorry but the second any person says the slightest negative thing about ordinary the Alex Stans get so offended and defensive, it’s really not that deep and for bullying accusations to be thrown around over absolutely nothing is absurd, there isn’t one bit of bullying going on here?

lighten up I was joking, was a pile on more appropriate 😎

Edited Monday at 18:003 days by Scone1
addition

5 minutes ago, Liam Sota said:

I don’t really get Joseph he starts talking to people like children if he gets a response he doesn’t like. The guy isn’t being rude he just doesn’t agree with your sweeping generalisation. Nobody has to respect the song but it’s liked by many members for sure and I don’t know who decides what is considered a buzz jack type of song

Well you've been here long enough - its fairly obvious going by the sub forums what's considered a buzzjack type song/ artist - and what gets mass loads of support/ praise

Edited Monday at 18:053 days by ElectroBoy

Just now, Liam Sota said:

I don’t really get Joseph he starts talking to people like children if he gets a response he doesn’t like. The guy isn’t being rude he just doesn’t agree with your sweeping generalisation. Nobody has to respect the song but it’s liked by many members for sure and I don’t know who decides what is considered a buzz jack type of song

I'm literally right here so cut the attitude (and I'm a site admin so I can call out rudeness when I see it, it's part of the job - if you don't like it, you don't have to be here)

It's not a sweeping generalisation, it's a consensus. Buzzjack has a history of appreciating, above all else, female pop songs. Male singer/songwriter ballads are typically unpopular, but that's not to say everyone feels that way, and it doesn't even necessarily apply to me (remember I'm the site's premier Beautiful Things stan). There are always exceptions, and there are people who don't fit the mould in general, but look at the multichart #1s of 2025 - https://www.buzzjack.com/forums/topic/281247-buzzjack-songs-multichart-1009/ Ed Sheeran snatching a week with Azizam is the sole primary male artist the entire year, with Lady Gaga even achieving a 10 week #1 with Abracadabra.

I don't understand the intense defensiveness towards Ordinary, or Alex himself, and there have been numerous posts insisting on respect for Ordinary when it's quite clear that, among those vocal enough in the chart forum, that it's not that popular on the site. That's okay! It's a huge hit and nobody could possibly diminish that with the amount of time it spent at #1. It doesn't need a single bit of validation from Buzzjack.

Anyone who took my post personally needs to re-read it and touch some grass.

9 minutes ago, Liam Sota said:

I don’t really get Joseph he starts talking to people like children if he gets a response he doesn’t like. The guy isn’t being rude he just doesn’t agree with your sweeping generalisation. Nobody has to respect the song but it’s liked by many members for sure and I don’t know who decides what is considered a buzz jack type of song

I think you need to show some respect, Joseph is the admin of the site and works tirelessly giving up his free time to put together updates, run the chart show thread and so so much more behind the scenes, he hasn’t spoke to anyone like a child and if I’m being completely honest you are the one who acts like a child if anyone says the slightest negative thing about ordinary.

4 minutes ago, Scone1 said:

lighten up I was joking

Well it certainly didn’t come across like you were joking?

In the sprawling digital landscape of pop music fandoms, BuzzJack stands out as a peculiar microcosm—part fan forum, part critical think tank, part pop culture battleground. Known for its elaborate chart discussions, Eurovision obsession, and intense debates over musical artistry, BuzzJack reveals a fascinating tension at the heart of contemporary pop discourse: a pronounced bias toward female pop stars and, in parallel, a thinly veiled dismissiveness toward certain male artists who don't fit the forum's aesthetic or emotional expectations. One of the most glaring recent examples of this bias is the forum’s treatment of Alex Warren’s heartfelt ballad, Ordinary, which was met not with thoughtful engagement, but with disinterest, mockery, and even outright disdain.

To understand this phenomenon, one must first unpack BuzzJack’s identity. Founded in 2003, BuzzJack initially grew around UK Singles Chart predictions but gradually evolved into a wider community for pop culture lovers, particularly those with a taste for mainstream and electronic pop. Over time, its user base developed an archetype of the “ideal pop artist”—a figure often female, emotionally vulnerable yet visually glamorous, sexually autonomous yet polished, flamboyant yet emotionally grounded. The resulting environment is one that elevates figures like Lady Gaga, Dua Lipa, Charli XCX, Ava Max, and especially Britney Spears and Kylie Minogue to near-mythic status.

There’s a pattern in the type of female artist BuzzJack prefers. She is often perceived as either camp or cathartic—an emblem of emotional release, queer empowerment, and theatricality. This “diva worship” culture is deeply rooted in LGBTQ+ pop fandoms, which dominate BuzzJack’s demographic. The aesthetic is loud, synthetic, high-stakes. Melodrama is a virtue. Sincerity is tolerated only when it’s dramatic. Subtlety, especially from a male artist, is seen as a risk—and often not a welcomed one.

Enter Alex Warren and his 2023 single Ordinary. A slow-burning piano ballad about romantic insecurity, Ordinary is rooted in lyrical vulnerability and minimalistic production. The song tells a story many can relate to—the quiet dread of feeling forgettable in the eyes of someone we love. Warren’s delivery is raw, unfiltered, and unpretentious. There’s no beat drop, no synth climax, no auto-tuned belt. It’s not designed for TikTok virality, nor does it come packaged in glitter or queer-coded camp. It is, in essence, the anti-BuzzJack song.

Yet what’s striking is not just that Ordinary was disliked. It’s that it was not permitted into the emotional space of the forum. It didn’t receive the luxury of being critiqued on musical terms. Instead, it was preemptively dismissed—called “bland,” “whiny,” or “basic”—without meaningful engagement. That reaction speaks volumes not just about Ordinary itself, but about the implicit expectations BuzzJack has of its music, and of the artists who make it.

Part of this rejection is gendered. BuzzJack’s community, in its quest for the theatrical and extraordinary, often relegates male emotional expression to a narrow bandwidth. Male singers must either be genre-bending enigmas like Troye Sivan or The Weeknd—embraced for their sensuality, queerness, or edge—or they must possess the vocal gravitas and legacy appeal of Sam Smith or Lewis Capaldi. Otherwise, they’re seen as filler, chart clutter, or worse, straight mediocrity. Alex Warren—a straight, white, TikTok-native male artist without the camp flair or subversive edge—falls squarely into the category BuzzJack finds unworthy of serious attention.

This bias isn’t necessarily conscious. Rather, it’s systemic, shaped by years of forum culture where certain sounds and personas were rewarded and others quietly pushed aside. It’s reinforced by the “New Music Friday” threads where members rush to crown their queens of the week, and by the relentless ranking and re-ranking of female discographies in sprawling rate threads. Even the annual BuzzJack Song Contest—ostensibly a meritocratic celebration of taste—tends to skew female-heavy in its winners and finalists. Songs by male artists are often treated as novelty entries or guilty pleasures rather than contenders for genuine emotional resonance.

In this landscape, Ordinary feels like a sacrificial lamb. Its very title almost invites critique. Ordinary? BuzzJack does not want ordinary. BuzzJack wants era-defining. BuzzJack wants iconic. BuzzJack wants ferocity, not fragility. And yet, Ordinary offers something that few BuzzJack anthems do: intimacy. It strips away the gloss and lets discomfort take center stage. Its power lies in its restraint. But that very restraint—its refusal to shout, to sparkle, to flex—renders it invisible on a platform that equates sonic volume with emotional impact.

It’s also worth exploring the influence of artist origin. Alex Warren, a figure birthed in the algorithmic chaos of TikTok, carries the stigma of being “not a real musician” in the eyes of certain music purists. BuzzJack, despite its love for pop, holds tightly to standards of authenticity—just not in the traditional rockist sense. Authenticity on BuzzJack means emotional commitment, fan-service, reinvention, and a narrative arc that feels earned. A TikTok star crossing over into music must prove themselves far more than a pop girl launching a debut single with an eye-catching cover and a thumping chorus.

The forum’s reaction to Ordinary also reveals an intriguing discomfort with minimalism. In a world of maximalist production—where even ballads come drenched in cinematic strings or sweeping choruses—Warren’s choice to hold back, to linger in silence, feels alien. It defies the expected structure of BuzzJack-approved ballads, like Adele’s Someone Like You or Beyoncé’s Sandcastles, both of which explode with catharsis. Ordinary, in contrast, sits with the ache. And BuzzJack doesn’t sit still well. It scrolls. It ranks. It craves the next hit of pop adrenaline.

The tragedy here is not simply that Ordinary was dismissed. It’s that BuzzJack, a forum ostensibly created to dissect and celebrate music, failed to practice its core value: listening. True listening requires one to silence personal bias, genre expectations, and aesthetic preferences long enough to let the music speak on its own terms. In the case of Ordinary, that didn’t happen.

But there is a deeper irony. In its own quiet way, Ordinary is a protest song. Not a political one, but an artistic protest against the idea that music must perform for us. It doesn’t beg for a replay. It doesn’t pander to algorithms or dance floors. It simply exists, like a diary entry never meant to go viral. And perhaps, one day, BuzzJack might be ready to receive it not with an eye-roll but with curiosity. Perhaps when the glitter fades and the BPMs drop, the forum will realize that there is courage in vulnerability—and power in being, well, ordinary.

Until then, Ordinary will remain a song out of sync with its cultural gatekeepers, a reminder that taste-making spaces, even democratic ones like forums, are not free from prejudice. They are mirrors of their own mythology, curators of a canon that excludes as much as it celebrates. And in that exclusion lies the most telling truth of all.

1 hour ago, Scone1 said:

The disrespect for Ordinary is astounding.

Ah well I won't lose any sleep over it

actually might put it on might help comatose me 🤣

Didn't think I would see such a big K-pop takeover of Amazon.

Amazon update:

#2. "Golden"

#3. "Soda Pop"

#4. "APT."

#5. "Your Idol"

#7. "How It's Done"

#8. "Takedown"

#12. "What It Sounds Like"

#33. "Free"

#46. "Golden (David Guetta Remix)"

#139. "Takedown" - TWICE version

Shame that BLACKPINK's "Jump" hadn't gotten more support from Amazon (can't see it top 200).

Edited Monday at 19:262 days by Envoirment

1 hour ago, Eric_Blob said:

In the sprawling digital landscape of pop music fandoms, BuzzJack stands out as a peculiar microcosm—part fan forum, part critical think tank, part pop culture battleground. Known for its elaborate chart discussions, Eurovision obsession, and intense debates over musical artistry, BuzzJack reveals a fascinating tension at the heart of contemporary pop discourse: a pronounced bias toward female pop stars and, in parallel, a thinly veiled dismissiveness toward certain male artists who don't fit the forum's aesthetic or emotional expectations. One of the most glaring recent examples of this bias is the forum’s treatment of Alex Warren’s heartfelt ballad, Ordinary, which was met not with thoughtful engagement, but with disinterest, mockery, and even outright disdain.

To understand this phenomenon, one must first unpack BuzzJack’s identity. Founded in 2003, BuzzJack initially grew around UK Singles Chart predictions but gradually evolved into a wider community for pop culture lovers, particularly those with a taste for mainstream and electronic pop. Over time, its user base developed an archetype of the “ideal pop artist”—a figure often female, emotionally vulnerable yet visually glamorous, sexually autonomous yet polished, flamboyant yet emotionally grounded. The resulting environment is one that elevates figures like Lady Gaga, Dua Lipa, Charli XCX, Ava Max, and especially Britney Spears and Kylie Minogue to near-mythic status.

There’s a pattern in the type of female artist BuzzJack prefers. She is often perceived as either camp or cathartic—an emblem of emotional release, queer empowerment, and theatricality. This “diva worship” culture is deeply rooted in LGBTQ+ pop fandoms, which dominate BuzzJack’s demographic. The aesthetic is loud, synthetic, high-stakes. Melodrama is a virtue. Sincerity is tolerated only when it’s dramatic. Subtlety, especially from a male artist, is seen as a risk—and often not a welcomed one.

Enter Alex Warren and his 2023 single Ordinary. A slow-burning piano ballad about romantic insecurity, Ordinary is rooted in lyrical vulnerability and minimalistic production. The song tells a story many can relate to—the quiet dread of feeling forgettable in the eyes of someone we love. Warren’s delivery is raw, unfiltered, and unpretentious. There’s no beat drop, no synth climax, no auto-tuned belt. It’s not designed for TikTok virality, nor does it come packaged in glitter or queer-coded camp. It is, in essence, the anti-BuzzJack song.

Yet what’s striking is not just that Ordinary was disliked. It’s that it was not permitted into the emotional space of the forum. It didn’t receive the luxury of being critiqued on musical terms. Instead, it was preemptively dismissed—called “bland,” “whiny,” or “basic”—without meaningful engagement. That reaction speaks volumes not just about Ordinary itself, but about the implicit expectations BuzzJack has of its music, and of the artists who make it.

Part of this rejection is gendered. BuzzJack’s community, in its quest for the theatrical and extraordinary, often relegates male emotional expression to a narrow bandwidth. Male singers must either be genre-bending enigmas like Troye Sivan or The Weeknd—embraced for their sensuality, queerness, or edge—or they must possess the vocal gravitas and legacy appeal of Sam Smith or Lewis Capaldi. Otherwise, they’re seen as filler, chart clutter, or worse, straight mediocrity. Alex Warren—a straight, white, TikTok-native male artist without the camp flair or subversive edge—falls squarely into the category BuzzJack finds unworthy of serious attention.

This bias isn’t necessarily conscious. Rather, it’s systemic, shaped by years of forum culture where certain sounds and personas were rewarded and others quietly pushed aside. It’s reinforced by the “New Music Friday” threads where members rush to crown their queens of the week, and by the relentless ranking and re-ranking of female discographies in sprawling rate threads. Even the annual BuzzJack Song Contest—ostensibly a meritocratic celebration of taste—tends to skew female-heavy in its winners and finalists. Songs by male artists are often treated as novelty entries or guilty pleasures rather than contenders for genuine emotional resonance.

In this landscape, Ordinary feels like a sacrificial lamb. Its very title almost invites critique. Ordinary? BuzzJack does not want ordinary. BuzzJack wants era-defining. BuzzJack wants iconic. BuzzJack wants ferocity, not fragility. And yet, Ordinary offers something that few BuzzJack anthems do: intimacy. It strips away the gloss and lets discomfort take center stage. Its power lies in its restraint. But that very restraint—its refusal to shout, to sparkle, to flex—renders it invisible on a platform that equates sonic volume with emotional impact.

It’s also worth exploring the influence of artist origin. Alex Warren, a figure birthed in the algorithmic chaos of TikTok, carries the stigma of being “not a real musician” in the eyes of certain music purists. BuzzJack, despite its love for pop, holds tightly to standards of authenticity—just not in the traditional rockist sense. Authenticity on BuzzJack means emotional commitment, fan-service, reinvention, and a narrative arc that feels earned. A TikTok star crossing over into music must prove themselves far more than a pop girl launching a debut single with an eye-catching cover and a thumping chorus.

The forum’s reaction to Ordinary also reveals an intriguing discomfort with minimalism. In a world of maximalist production—where even ballads come drenched in cinematic strings or sweeping choruses—Warren’s choice to hold back, to linger in silence, feels alien. It defies the expected structure of BuzzJack-approved ballads, like Adele’s Someone Like You or Beyoncé’s Sandcastles, both of which explode with catharsis. Ordinary, in contrast, sits with the ache. And BuzzJack doesn’t sit still well. It scrolls. It ranks. It craves the next hit of pop adrenaline.

The tragedy here is not simply that Ordinary was dismissed. It’s that BuzzJack, a forum ostensibly created to dissect and celebrate music, failed to practice its core value: listening. True listening requires one to silence personal bias, genre expectations, and aesthetic preferences long enough to let the music speak on its own terms. In the case of Ordinary, that didn’t happen.

But there is a deeper irony. In its own quiet way, Ordinary is a protest song. Not a political one, but an artistic protest against the idea that music must perform for us. It doesn’t beg for a replay. It doesn’t pander to algorithms or dance floors. It simply exists, like a diary entry never meant to go viral. And perhaps, one day, BuzzJack might be ready to receive it not with an eye-roll but with curiosity. Perhaps when the glitter fades and the BPMs drop, the forum will realize that there is courage in vulnerability—and power in being, well, ordinary.

Until then, Ordinary will remain a song out of sync with its cultural gatekeepers, a reminder that taste-making spaces, even democratic ones like forums, are not free from prejudice. They are mirrors of their own mythology, curators of a canon that excludes as much as it celebrates. And in that exclusion lies the most telling truth of all.

Damn, you stole the words right out of my mouth with this one!

9 minutes ago, RobBot said:

Damn, you stole the words right out of my mouth with this one!

Ooh here for a, You took the words right out of my mouth, revival

2 hours ago, Eric_Blob said:

its user base developed an archetype of the “ideal pop artist”—a figure often female, emotionally vulnerable yet visually glamorous, sexually autonomous yet polished, flamboyant yet emotionally grounded. The resulting environment is one that elevates figures like Lady Gaga, Dua Lipa, Charli XCX, Ava Max, and especially Britney Spears and Kylie Minogue to near-mythic status.

🤣🤣🤣🤣

2 hours ago, Eric_Blob said:

In the sprawling digital landscape of pop music fandoms, BuzzJack stands out as a peculiar microcosm—part fan forum, part critical think tank, part pop culture battleground. Known for its elaborate chart discussions, Eurovision obsession, and intense debates over musical artistry, BuzzJack reveals a fascinating tension at the heart of contemporary pop discourse: a pronounced bias toward female pop stars and, in parallel, a thinly veiled dismissiveness toward certain male artists who don't fit the forum's aesthetic or emotional expectations. One of the most glaring recent examples of this bias is the forum’s treatment of Alex Warren’s heartfelt ballad, Ordinary, which was met not with thoughtful engagement, but with disinterest, mockery, and even outright disdain.

To understand this phenomenon, one must first unpack BuzzJack’s identity. Founded in 2003, BuzzJack initially grew around UK Singles Chart predictions but gradually evolved into a wider community for pop culture lovers, particularly those with a taste for mainstream and electronic pop. Over time, its user base developed an archetype of the “ideal pop artist”—a figure often female, emotionally vulnerable yet visually glamorous, sexually autonomous yet polished, flamboyant yet emotionally grounded. The resulting environment is one that elevates figures like Lady Gaga, Dua Lipa, Charli XCX, Ava Max, and especially Britney Spears and Kylie Minogue to near-mythic status.

There’s a pattern in the type of female artist BuzzJack prefers. She is often perceived as either camp or cathartic—an emblem of emotional release, queer empowerment, and theatricality. This “diva worship” culture is deeply rooted in LGBTQ+ pop fandoms, which dominate BuzzJack’s demographic. The aesthetic is loud, synthetic, high-stakes. Melodrama is a virtue. Sincerity is tolerated only when it’s dramatic. Subtlety, especially from a male artist, is seen as a risk—and often not a welcomed one.

Enter Alex Warren and his 2023 single Ordinary. A slow-burning piano ballad about romantic insecurity, Ordinary is rooted in lyrical vulnerability and minimalistic production. The song tells a story many can relate to—the quiet dread of feeling forgettable in the eyes of someone we love. Warren’s delivery is raw, unfiltered, and unpretentious. There’s no beat drop, no synth climax, no auto-tuned belt. It’s not designed for TikTok virality, nor does it come packaged in glitter or queer-coded camp. It is, in essence, the anti-BuzzJack song.

Yet what’s striking is not just that Ordinary was disliked. It’s that it was not permitted into the emotional space of the forum. It didn’t receive the luxury of being critiqued on musical terms. Instead, it was preemptively dismissed—called “bland,” “whiny,” or “basic”—without meaningful engagement. That reaction speaks volumes not just about Ordinary itself, but about the implicit expectations BuzzJack has of its music, and of the artists who make it.

Part of this rejection is gendered. BuzzJack’s community, in its quest for the theatrical and extraordinary, often relegates male emotional expression to a narrow bandwidth. Male singers must either be genre-bending enigmas like Troye Sivan or The Weeknd—embraced for their sensuality, queerness, or edge—or they must possess the vocal gravitas and legacy appeal of Sam Smith or Lewis Capaldi. Otherwise, they’re seen as filler, chart clutter, or worse, straight mediocrity. Alex Warren—a straight, white, TikTok-native male artist without the camp flair or subversive edge—falls squarely into the category BuzzJack finds unworthy of serious attention.

This bias isn’t necessarily conscious. Rather, it’s systemic, shaped by years of forum culture where certain sounds and personas were rewarded and others quietly pushed aside. It’s reinforced by the “New Music Friday” threads where members rush to crown their queens of the week, and by the relentless ranking and re-ranking of female discographies in sprawling rate threads. Even the annual BuzzJack Song Contest—ostensibly a meritocratic celebration of taste—tends to skew female-heavy in its winners and finalists. Songs by male artists are often treated as novelty entries or guilty pleasures rather than contenders for genuine emotional resonance.

In this landscape, Ordinary feels like a sacrificial lamb. Its very title almost invites critique. Ordinary? BuzzJack does not want ordinary. BuzzJack wants era-defining. BuzzJack wants iconic. BuzzJack wants ferocity, not fragility. And yet, Ordinary offers something that few BuzzJack anthems do: intimacy. It strips away the gloss and lets discomfort take center stage. Its power lies in its restraint. But that very restraint—its refusal to shout, to sparkle, to flex—renders it invisible on a platform that equates sonic volume with emotional impact.

It’s also worth exploring the influence of artist origin. Alex Warren, a figure birthed in the algorithmic chaos of TikTok, carries the stigma of being “not a real musician” in the eyes of certain music purists. BuzzJack, despite its love for pop, holds tightly to standards of authenticity—just not in the traditional rockist sense. Authenticity on BuzzJack means emotional commitment, fan-service, reinvention, and a narrative arc that feels earned. A TikTok star crossing over into music must prove themselves far more than a pop girl launching a debut single with an eye-catching cover and a thumping chorus.

The forum’s reaction to Ordinary also reveals an intriguing discomfort with minimalism. In a world of maximalist production—where even ballads come drenched in cinematic strings or sweeping choruses—Warren’s choice to hold back, to linger in silence, feels alien. It defies the expected structure of BuzzJack-approved ballads, like Adele’s Someone Like You or Beyoncé’s Sandcastles, both of which explode with catharsis. Ordinary, in contrast, sits with the ache. And BuzzJack doesn’t sit still well. It scrolls. It ranks. It craves the next hit of pop adrenaline.

The tragedy here is not simply that Ordinary was dismissed. It’s that BuzzJack, a forum ostensibly created to dissect and celebrate music, failed to practice its core value: listening. True listening requires one to silence personal bias, genre expectations, and aesthetic preferences long enough to let the music speak on its own terms. In the case of Ordinary, that didn’t happen.

But there is a deeper irony. In its own quiet way, Ordinary is a protest song. Not a political one, but an artistic protest against the idea that music must perform for us. It doesn’t beg for a replay. It doesn’t pander to algorithms or dance floors. It simply exists, like a diary entry never meant to go viral. And perhaps, one day, BuzzJack might be ready to receive it not with an eye-roll but with curiosity. Perhaps when the glitter fades and the BPMs drop, the forum will realize that there is courage in vulnerability—and power in being, well, ordinary.

Until then, Ordinary will remain a song out of sync with its cultural gatekeepers, a reminder that taste-making spaces, even democratic ones like forums, are not free from prejudice. They are mirrors of their own mythology, curators of a canon that excludes as much as it celebrates. And in that exclusion lies the most telling truth of all.

What in the ChatGPT is this.

3 minutes ago, Rob said:

What in the ChatGPT is this.

"Jarvis, write me an essay about why Buzzjack doesn't like Ordinary"

23 minutes ago, Rob said:

What in the ChatGPT is this.

Felt like being back at school when you have to built up your word count with fancy words, 😅