I can’t code. I just talk with machines.

The history of the insult, told like a documentary: dates, sources, a cold voice.

Solo operatic soprano, bel canto aria like a grand opera mad scene, a cappella over slow lush strings and harp, grand opera house reverb, no drums, no beat; starts slow, solemn and tragic, then accelerates into frantic virtuosic coloratura with staccato runs and stratospheric high notes, strings growing tense and dissonant; ends on one long piercing high note that cracks

drums, beat, electronic, pop, male vocals, choir, rap

Dark electro punk, electroclash, EBM, industrial techno, fast and relentless, 132 BPM 4/4, hard beat from the very first second; raw aggressive mix, distorted drums, overdriven analog kick, distorted acid bassline, harsh detuned synth stabs; cold seductive deadpan female spoken verses, rapid-fire and rhythmic, close dry vocals, faintly synthetic, gang-shouted echoes answering her lines; choruses half-sung, half-shouted, sneering punk attitude, punchy gang call-and-response chant; stacked chanted gang vocals in the drop; frequent hard stops and cuts to silence, glitch stutters, tape stops; dial-up modem screeches and data glitches as rhythmic sound design; dramatic violin stabs return in the bridge; dark minor key; key change up into a louder final chorus; music cuts for a whispered spoken outro, abrupt stop

pop, trance, gospel, happy, bright major key, supersaw, rap, lo-fi, male lead vocal, mumbled vocals, big room EDM, dubstep, ballad, slow tempo, sung verses, orchestral, opera, musical theatre