The Top 10 Worst Hit Songs of 2010

When it comes to talking about 21st century pop music, my mind immediately springs to the club boom that was the late 2000s that would eventually build up to the year 2010. In the same vein that the late 70s were dominated by disco, and the 80s of the synth pop and hair metel, late 2000s were dominated by the maximalist need party hard at the clubs. The ride had been steadly morphing the main and sub genres for nearly half a decade by 2009, and the signs were pointing to a critical mass that would be 2010 in pop music. 

Nearly every genre would either be muscled out or pivot to the club and dance scene that had been rising steadily. Rock and country saw any visibility they had muscled and winnowed out, same with R&B, while pop, rap and hip-hop became more synth and electro heavy than ever. Most of the songs that had a modicum of chart presence was very heavily club orientated, and there are only a small handful of songs that didn't pivot to the club sound that did manage to not only survived but thrived as a result. 

In a very homogonous year for the charts however... I'd say it was a good year overall. Sure the club dominance can and did in fact get very tiring to the point it lead to an entire backlash to it that built up until 2013 the reactionary response against the maximalist pop reached it's peak with the more minimalist styles of trap and alt-pop that would truly define the rest of the 2010s. But while some pop fans are willing to go to bat for the club boom, myself included, it was not all sunshine and rainbows either. For as much as pop fans look back at the late 2000s and early 2010s with rose tinted glasses when in comes to the music, there were also a lot of really bad songs that did in fact showcase the worst aspects of pop music at that time. So, greetings loved ones, let's take a journey. Cuz I know a place where the clubs are crowded with the drunks partying and trying to score, we're counting down...

The top 10 WORST hit songs of 2010

#10. Imma Be by The Black Eyed Peas

The Black Eyed Peas were utterly dominant circa 2009/2010 with the kind of club bangers during this time. 2009 was especially the peak with the twin dominating #1 songs, the overpowering "Boom Boom Pow" and the ever omniprescent "I Gotta Feeling" both dominated and spent 26 weeks consecutively atop the pop chart in the US. That is frankly wild to me, that a single musical artist or group could manage to have not one 1, but TWO #1 hits back to back and they both last for over 10 weeks and spend half a year on top is frankly astonishing to me. It's also a damn shame when their next big hit is a total dud to me.

I think the worst thing about this entire song is just the annoyingly repetitive nature of the words "Imma be" repeated ad nauseum by will.i.am and crew of the dumbest brewing brag rap that was always tired and stale by 2010. It's funny how after Fergie's verse she says she's here to stay till infinity and will.i.am saying he's the future, The Black Eyed Peas would in fact NOT stay for much longer, and their sound instead felt dated even then. They were not musical innovators or trailblazers, they sold out and made some of the more overwrought, annyoing and overproduced fusion of hip-hop and electro-pop this side of the club boom. 

And I'm not saying that all of their music was like that, I actually think they had quite a few good to great hits in the 2000s, especially "I Gotta Feeling" which I think is the quintessential club song of all time. But I think this song was the pinnacle of everything wrong with the group and the club boom in general. It's this overproduced mesh of synths and drums, not to mention Fergie and Will are just lathered in effects that do not compliment them at all. It comes off as a tuneless clattering mess of overproduction that does itself no favors at all.

The worst part is, halfway through the song it actually picks up a little out of the dregs of what the song was to being somewhat more passable groove. They're still doing the same rap bragging however, and there is no Taboo on this song for some reason. Either way, that first half of this song was just such a headache to get through and for it to pick up halfway through and switch it up, it still isn't enough for me to actually like or enjoy this song whatsoever. It may not have been their absolute last hit, but it was sure their last ever #1, and it's easily their worst.

#9. Teach Me How to Dougie by Cali Swag District

On the one side of the club boom from the overproduced mess that dominated, there was also the more mid-tempo dance tracks that... really sucked, kinda like this. For one, the chorus says "teach me how to dougie" and yet not only does the song NOT teach you how to do the Dougie, they spend more time name dropping people and places instead and bragging about the girls these guys can pull.

It also does not help this beat is doing no favors whatsoever, for a dance track this beat feels limp as fuck and lifeless as well. It also doesn't help the fact that the singers feel off beat as well, like they sound half a step off beat to the drums. And it's not like these guys are even remotely good rappers over this beat either, it's telling when Doug E Fresh, the dance move made in honor of him, not only did he hop on the beat of this track and actually performed a much BETTER version of what the Dougie is than what Cali Swag District showed in the video, he did a whole verse and chorus that sound MUCH better than these wannabes ever could.

For as popular as this song was at the time, it's only gone down as a somewhat cult classic, but it has never gone into the echelon of the club classics like others this year and for good reason. If "Imma Be" represented the overporduced mess of the club boom, this represented the tired staleness that was rotting into the genre, it feels tired and limp just like the drums itself. And Cali Swag District have since been thoroughly forgotten, banished to the realms of one hit wonderdom where they will stay for eternity.

#8. My First Kiss by 3OH!3 featuring Ke$ha

Word to the wise, never start your song with kissing sounds, it's not sexy at all! I feel sorry for Kesha in this song, because even though I very much do not like this song, she is the rare bright spot on this song for me. If they had given her more to do rather than just backing vocalist or do one half of the chorus like, three times thsi song could have been much more passable. Instead we have to hear Sean Foreman and Nathaniel Motte adolescently screech about how their first kiss was and how they'd get with this girl. It's just repulsively sexist and demeaning.

If there's one thing I really did not like about this kind of music was how aggresively straight this kind of music was, and 3OH!3's music is exactly that in the worst way possible. I don't want to hear these guys talk about how once they get a little touch of a girl and have her their way they'd make her go "ooooooh" like, eww. Not to mention that this electro-faux rock pop just does not work for me, from the fake as hell handclap that just exists throughout the verses, the electric guitar licks also add nothing but more noise to the song, it's trying to fill the void of nothingness when the beat just dissipates as well.

And the chorus is just the wrong kind of catchy pop hook that you don't want. Again, I don't want to here these fucking guys go "Ooooooooh" to simulate what they can get a girl to say especially when they also say "If I had it my way" which is just fucking despicable songwriting. It doesn't help that this song is more of that dime a dozen pop club hits that the likes of Benny Blanco and Dr. Luke were putting out around this time, shockingly yes this was co-produced by both of them and it shows. And considering what we know about Dr. Luke in regards to Kesha I think that's a testament to why this song just sounds so wrong on so many levels for me.

#7. Hey Daddy (Daddy's Home) by Usher featuring Plies.

Oh Usher, why must you disappoint me. I know Usher is this sexy R&B god who can make some great club bangers, we all know it, plus he can make a damn good sensual down to earth song as well. The problem is this song is trying to be both a club banger and sexual at the same time and it just... does not work at all. And I think I know where the problems stem from, him saying "Daddy's home" is just... not fucking sexy. 

When I think of that phrase I think of it in the most ironic and funny way straight men think they can get girls by exploiting them and their daddy issues. I don't think calling a girl "daddy" is sexy in the slightest, and frankly, the connotation of using it to pick up girls comes off as sexist and creepy in the worst way possible as well. It doesn't help that Usher, usually the charismatic sensual R&B king that he is isn't selling it for me. I think the other problem is the production, it's trying to be laden club track while also a sensual seduction song and it fails on so many fronts. The beat is slathered in effects, the drums sound limp and lifeless, and the pianos do not mix well when it's also buried behind the laden bass. 

But what really ruins this song for me beyond the baffling production and Usher's not sexy lyrics, it's Plies on this song, and Plies as a rapper suuuuucks. He just sounds like a worse and more uninteresting version of Young Jeezy was. Actually now that I think about it, this song is just a worse re-tread of Usher's "Love In This Club" from the club beat, to the sensual lyrics right down to the guest star sounding like Young Jeezy. My God, it all makes sense now, is Usher just trying to copy paste formulas from his past few records? Okay I'm kidding, not that I think Usher would be that out of ideas, but a song like this being very similar and worse can leave that impression.

#6. Eenie Meenie by Sean Kingston featuring Justin Bieber

I remember when the internet HATED Justin Bieber with a passion in the early 2010s. Everyone thought he was yet another teen idol with an annoying prepubescent voice that sounded like a girl to the most sterile and disposable dance pop that was used to hate on the rabid teen fangirls who defended him to death. I was there, I was in those trenches, when I was growing up I was one of those anti-Bieber people. I hated Justin Bieber and it was because of his annoying whiny girlish voice that turned me off from his style of boyish teen pop for me.

But, now that I'm older and more mature I can say that the anti-Bieber train was a product of toxic masculinity and hating anything remotely "girly" I mean this was the same era where "My Little Pony" really blew up that same year. And even still now that I have a more open mind when it comes to Bieber, this song still sucks for me, and it's not because of Bieber's voice, though I'd be lying if I didn't say it was still a part of it. 

No the problem for me is the lyrics, specifically the "Shawty is a eenie-meenie-miney-mo lover" chorus that is repeated ad nauseum. I get that Bieber was a teenager in 2010, but that doesn't make it right for him to be singing this, usually you should have grown out of this kind of nursery rhymes by elementary school, and it's even less cool when these words are coming out of a grown adult like Sean fucking Kingston, who was 20 when this song came out. I also cannot with that bridge where Sean and Justin also say "Catch a bad chick by her toe" which I don't need to hear a white as snow teenager like Bieber talking about a girl like this just because she's on the fence about wanting to be with you. 

The other problem I have with this song is the production is again the dime a dozen Benny Blanco dance pop he was putting out aroudn this time, but this time trying to blend Kingston's reggae influence with Bieber's R&B-esque vocals with this tiring dance beat doesn' mask the issues with this song. Not to mention how utterly samey it is, especially with the keyboard playing the same 2 or 3 notes that is buried by the repetitve drums all over the chorus. And the verses are no better either, the breakdown at the end tries to buildup to the final chorus but the buildup then just goes straight to the top abruptly for the finale. 

This is just more of the same overproduced Benny Blanco dance tracks that were everywhere in 2010, and while some were better produced and more well known, this is the kind of trash that deserved to get dunked on, I just wish it was less because of Bieber and more because of Kingston and the production instead.

#5. Young Forever by Jay-Z featuring Mr. Hudson 

Hov, what excuses do you have for this dreck? First issue is the sample itself, "Forever Young" is one of the great German synth-pop songs of the mid 80s from the German new wave band Alphaville, and it is a fucking disgrace that Alphaville's first album never had any major staying power here in the states. So, what does Kanye West, the producer of this song do with this amazing piece of German synth-pop? Why water it down by removing everything that made the song great and strip it and replace it full stop with the most overproduced and fake as shit drum machine of course!

Specifically the sparse yet amazing beat is replaced with a tinny as hell percussion that is slathered across the song and replaced with what I think are some of the leftover drum beats Kanye didn't use for Graduation and decided to recycle them for Jay-Z's album. And it sounds just poorly mixed as well, I can hear the scratching pop at times when the beat hits and it takes me out of the song, it sounds wrong. 

There's also the lyrics, which is my big problem with this song. The original song was about one that espouses the viture of youth while also, ironically sarcastically condemning it as well, giving it a double meaning of "who wants to live forever?" While Jay-Z gets one of his fellow label mates Mr. Hudson to do a Marian Gold impression and effectively copy and paste the chorus and first verse, Jay-Z is contemplating about whether he'll be around forever in our memories and his life in the rap game.

Jay, you are one of the most acclaimed and successful rappers of the 21st century, why the Hell are you being this emotional about what others may or may not feel about you? I highly doubt someone like you is going to be lost to the sands of time as a rapper who conquered the world and disappeared because... well you never really did. You married Beyonce, you are one of the greatest of your generation, you should NOT be making this kind of song in 2010, this should be the type of song he could have made in 2017 and it would have worked better.
But, even with that, it still doesn't help the problems that persist with this song and why I do not enjoy this kind of Jay-Z song, especially for "The Blueprint 3" this does not feel like any sort of Jay-Z blueprint for me. No wonder this track was buried at the tail end of the album, cuz it also doesn't fit with songs like D.O.A. or On To The Next One, or even fucking A Star is Born. It's one of the worst songs Jay-Z ever sang, and it's also one of Kanye's worst produced songs, and this was during his GOLDEN era before he went completely off the deep-end no less.

#4. How Low by Ludacris

Is the answer rock bottom for you Luda, cuz that's how low you went with this track. Seriously, a chipmunk vocal loop of the phrase "How low can you go?" This might be the moment where I think it became clear that Luda's time in the mainstream was long past it if this was the point he was going with his music. 

It doesn't help that the album this song came off was called "Battle of the Sexes" and it was supposed to be a collaboration album with Luda's label mate Shawnna, who you may know as being the female vocalist from Luda's #1 hit from 2003 "Stand Up" the one who in the chorus goes "Just like that" in response to "When I move you move" Well she was supposed to be credited but she was removed because she then split with Luda's label and signed with T-Pain's label instead. 

Why am I saying this you ask? Simple, this song is hot garbage and headache inducing to listen to and talk about. Luda's flow is fine and all, in the verses and it's the typical brag rap I come to expect and Luda does have the charisma to back it up, but that second verse annoys me, especially the food metaphors which is not only not sexy, it makes me hungry and I don't want to feel hungry when listening to a club song Luda. 

The production also has this like creepy synth that pops up from time to time in the song, and when I say "creepy" i mean like the "oooh-wooooo"shing type of synth, and it's just randomly buried underneath the reverbed bass in the verses. Not to mention the incredibly fake as hell handclaps and tinny hi hats that accompany the chorus do this song no favor and not only is it annoying in how catchy it is, it gives me a headache listening to it. It's a damn shame that Luda's once bright and promising career was reduced to making this kind of disposable kind of hip-hop at the turn of the decade, another victim of the club boom as well.

#3. Say Aah by Trey Songz featuring Fabolous

And there it is, the last crunk&B song to ever hit the pop charts, in all it's awful overproduced and dated as fuck glory. It's not just that I think this song is a terrible mess that mixes that club and patrón atmosphere with the sensual stylings of R&B and hip-hop, it's that Trey Songz sounds awful and offbeat in this song. I wish I was joking when I say that, he just sounds like he's like a half step or so off beat, and I wish that was the only issue I had with this song and not just that this beat, like "Hey Daddy" is trying to be a club and sensual R&B song and it fails.

I also don't need to hear Trey tell this girl "say aah" which yes I know is an obvious double entendre, but that doesn't mean I like it when he's saying it in the most un-sexy way possible to this overwrought beat too. Speaking of the lyrics he says in his first verse he ends it by saying "And if you like the condo, we can move the party to the bedroom, I'ma beat your body like a congo" which is just... not sexy and frankly can easily be taken in the most malevalent way possible. 

He also says he "retired from the Bull like Pippen" in his second verse, which, you haven't, and never compare yourself to Pippen ever again Trey. He also compares himself to Homer Simpson and asks this girl if they'd want to be his Marge, and most baffling of them all is the line "Whip out front we can leave like pronto, Maple Leaf dash got you feelin' like Toronto" and as a sports fan you do NOT want to be compared to the disappointment of the Toronto Maple Leafs (And I hate the Maple Leafs)

I also hate when in the pre-chorus he says "I noticed there ain't nothin' in your cup, so give it here baby let me fill it up" because it doesn't sound like he's filling it with champagne or any other assortment of alcohol, and that double entendre makes it sound more gross than anything else. Then you get Fabolous on the third verse who provides a bit more energy than Trey is but still can't add anything apart from the average champagne in this girl's system schtick over this stock club&b mess.

It's actually funny because Trey Songz actually had a second hit this year that was in a similar vein to this, it's called "Bottoms Up" with Nicki Minaj. And the funny thing is, that song is good. Because for one Trey actually sounds like he has some actual energy and care in his verse, he's actually TRYING and Nicki for all her faults is a much more engaging guest rapper than Fabolous is as well. Not just that but that song fits the bling and patron club vibe way more than "Say Ahh" couldn't even try. The beat is much slicker and tighter and isn't as overproduced like this is, and it makes one thing clear, it will tear the club up, while "Say Aah" can't.

#2. Tie Me Down by New Boyz featuring Ray J

Two of the trends that has been evident throughout this list is how the worst music for me represented is of the bad overproduced mess of dance-pop that was prevalent and the uneasy un-sexiness that some of the guys have in regards to seducing women. But if you want the worst aspects of bad production and the sexism that is ever present in the industry, well "Tie Me Down" has that in spades. 

First, is the production, the beat that is lathered in reverb and buried behind the fake as hell snaps and claps that are all over the song for no real rhyme or rhythm at all. and none of it it helped by the way Ray J and New Boyz sing, which is out of step with the beat and percussion, it's so off beat it's a distraction with how badly this song is mixed. And God speaking of distraction, those lyrics, especially that chorus that Ray J is singing.

It's about how they aren't gonna have one girl tie them down from getting with other women, y'know the typical sexist attitude and toxic masculinity that was and sadly is still prevalent in a lot of media? It doesn't help that these guys are all slathered in auto-tune and effects that it doesn't sound like it's trying to correct the vocals to the right tune or fit the beat, it just sounds wrong. It's no wonder why this era of overproduced sterile beats and awful vocal tuning was derided, because damn this sucks ass. It's a representative of everything I hate about this era of pop music, from the overproduced beat layered in reverb and effects, buried by the fake clap and snaps. The no name hip-hop/R&B duo that very few will remember in 3 years time, the somewhat catchy yet annoying as hell chorus and the very scheming and sexist lyrics from three guys who don't want to be tied down to just oen woman for the rest of their lives.

When people talk about the pop music they remember, they remember the good shit that was popular that sound like fun for everyone. This does not sound like fun, unless you were some horny as fuck bastard wanting to get laid this might be fun for you, but for me, it's something I do not want nor do I need to hear ever again.

But before we get to #1, let me go over real quick a few dishonorable mentions.

Dishonorable Mention: BedRock by Young Money featuring Lloyd

Do I even have to say it, the second verse ends with the line "grocery bag" from a guy called Gudda Gudda, and Lloyd cannot sell being sexy. Yeah Lloyd you are Mr. Flintstone, sure you are, and for the record yes I am being sarcastic.

Dishonorable Mention: Cooler Than Me by Mike Posner 

Mike Posner cannot sell this kind of club hit at all. He just does not have the vocal range to pull this off. Thankfully he does at least have one good song in his arsenal later on in his career... that needed a remix from the DJ Seeb to be a hit but it's better than this club mess. Yeah a pop song people forgot, truer words Mike would say.

Dishonorable Mention: Billionaire by Travie McCoy featuring Bruno Mars

I don't like reggae-pop, I especially don't like reggae-pop rap made by the guy from Gym Class Heroes with early baby face Bruno Mars. This song just does not work for me, and I don't think people want to be a billionaire so fucking bad anymore Bruno.

Dishonorable Mention: Baby by Justin Bieber featuring Ludacris

Yeah even though I've cooled off on my hate for early Bieber that doesn't mean I'm completely removed from what I don't like about this song. I still don't like Bieber's voice and it clashes terribly with this style of overpolished dance-pop that was, not to mention Luda is just embarassing on this track. I never want to hear someone like teenage baby faced Bieber talk about his "baby" ever again.

Dishonrable Mention: Blah Blah Blah by Ke$ha featuring 3OH!3

I feel bad for Kesha, of all the songs from her party girl era, this is one of her worst hits in my mind. For one, it has 3OH!3 on it and as I talked about in "My First Kiss" I don't like, but also this sound is the unpolished overproduced dregs of the era wrapped in one. Did Dr. Luke purposefully sabotage this song or something because this sound like his worst produced song yet.

Dishonorable Mention: Lover, Lover by Jerrod Niemann

Ahh, country music, nothing says crap like a generic white guy like Jerrod Niemann taking an underrated soul song like "You Don't Treat Me No Good" and giving it that old country flavor it was missing. And by "country flavor" I mean the overdubbed bass vocals in the chorus with a two meassure acoustic guitar riff and yet no full chords ever played. Yeah let's just say that country music was in dire straits as a result of the club boom.

Dishonorable Mention: Stuck Like Glue by Sugarland

But speaking of country music, at least it wasn't this level of bubblegum pop country either! If there is one thing I don't like it's hearing Jennifer Nettles voice sing over this sterile country pop fusion beat or those "Whoa oh, whoa ohs" about this relationship in the chorus. I think I'd prefer my relationships to be less adhesive than this.

Dishonorable Mention: I Made It (Cash Money Heroes) by Kevin Rudolf featuring Birdman, Jay Sean & Lil Wayne

Oh yes you did make it Kevin, you made it to the high life, and now your 15 minutes of fame are up and over. Because after this track got big the world would never hear of Kevin Rudolf ever again, and what a send off for this overproduced mess of electro rap rock. I am so glad that these big posse cuts started to get less and less attention from the pop charts as we advanced beyond the maximalist piling of names and stars on top of each other after this.

Dishonorable Mention: Life After You by Daughtry

This feels like the last remaining dregs of the post-grunge commercialization that was 2000s rock, which should be fitting because Daughtry is just the last grasp of the industry's hold of that genre in the mainstream. This song just feels like so many of the awful and boring ballads that a number of post-grunge bands were putting out, does not help this song was written by Chad Kroeger and Joey Moi and boy can you hear it.

Dishonorable Mention: Sexy Bitch by David Guetta featuring Akon

Now this is where I think was the moment where we as a society decided to finally stop giving Akon the hits he did not deserve. And thank God for that cuz man does this suck. Not only is David Guetta giving us the lazy synth that is rpeated for most of the song, but I don't want to hear Akon call a girl a "sexy bitch" especially as he's saying "I'm trying to find the words to describe this girl without being disrespectful" which is hard to do when you call her a sexy bitch and previously said she doesn't compare "to your neighborhood whore" I wish I was joking, the sexism in this song is terrible. Why did David Guetta get to stick around as a producer and hit maker after this? 

#1 Deuces by Chris Brown featuring Tyga & Kevin McCall

Every era and genre of music has it's designated villain. The 60s has Pat Boone for rock, The Beach Boys have Mike Love, grunge had Courtney Love, (unfairly and very much a product of misogyny I might add) but I think that R&B's biggest and ever present villain for the past 20 or so years would have to be Chris Brown. Now it's not just because ever since he stepped onto the scene in the mid 2000s did he come across like an Usher wannabe minus the charisma, talent and voice of Usher (which to be honest, all of those things he clearly has less of and he is just Usher with less talent) but it's because a lot of the music he had just had that underlying stench of malevelence to it at times. 

Now not all of his songs are like this, "With You" and especially "Forever" have a lot more going for it despite Chris' obvious shortcomings as a singer. No the issues lie with his relationship with Rihanna and the fallout from the domestic abuse that followed from the moment his fists connected with her face. That was the moment where the real Chris that I feared really came into the picture, the sexist, woman abusing piece of shit who rightfully should have NEVER been allowed to succeed after 2009 and "Graffiti" should have been the end of Chris Brown's commercial relevance in the pop and R&B worlds. The industy at large and the record buying public should have rejected him as a result.

In a perfect world Chris Brown's mainstream career is cut short by the industry, especially at the behest of Jay-Z who would VERY much be against Chris since when he was president of Def Jam he helped launch Rihanna's career into the stratosphere. Beating up Rihanna would very much have left sour grapes for all involved and it is no shock that Graffiti was a bomb of an album, only have 1 minor-ish chart hit for Chris Brown. That should have been the end for him and yet it was not. 

Instead what we get is a massive kiss off anthem from Chris in the most malevalent way possible. Treating this girl like she's the problem, she's the vulture and how she'll regret it when he's with another girl. Chris, I highly doubt any girl is gonna regret losing you, if anything they're probably gonna pray the girl luck for trying to put up with your toxic and abusive ass. 

We also have the anti-charisma rapper Tyga who adds nothing but add a wasteful verse about this girl, but what really gets me under the skin with this is Kevin McCall's verse. First he calls himself a dick and that it's not hard to swallow, flat out references Usher's "You Make Me Wanna..." but the worst line is the quote "Like Tina did Ike in the limo, it finally hit me" and when you contextualize it with Chris and Rihanna... um YIKES! Tina was very much in an abusive relationship with Ike, and yet Kevin McCall is trying to flip the script and make it seem like TINA TURNER was the abuser?! 

Yeah no, fuck this, that alone easily put this song right into the depths of Hell for me, just on that one line alone it sealed this song's fate for me. Even if it never was sung by Chris' mouth, he surely had a NUMBER of songs that you could easily interpret as being very close in regards to the Rihanna situation, and it fucking SUCKS! Chris Brown's legacy for me was already destoryed by 2009, by 2010 and onwards he has made it worse and worse and worse with every song he's released and this might very well be his worst ever hit. 

Chris wants to throw those deuces up, the public should have responded in kind to you, you did not deserve the hit making career you had at all after what you did. It's the worst hit song of 2010 for me easily, what it lacks in the painfully produced lowkey beat, it really sets in with the toxic and fucking misogynistic writing of this song. The worst of the year and it was part of an overarching trend you could easily see, men degrading and sexualizing women in the most un-fun un sexy and unpleasent ways possible. In the depths of the club boom, it wasn't a club hit, it was a boring, dull, generic yet insultingly infuriating R&B hit from R&B's biggest villain ever.