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112-432: The track was positively received, with music critics praising its catchiness and commercial appeal. In October 2014, "Club Rocker" was involved in a copyright infringement lawsuit, with Spanish singer Robert Ramirez Carrasco accusing Play & Win of plagiarism. To promote the recording, an accompanying music video was shot by Alex Herron and uploaded onto Inna's YouTube channel on 26 June 2011 to positive response. It

224-591: A "scrum in rugby", in that "[e]verybody pushes against everybody else, and we move forward in a huge blob of vehement opinion and mutual judgment". Music critic and indie pop musician Scott Miller , in his 2010 book Music: What Happened? , suggested, "Part of the problem is that a lot of vital pop music is made by 22-year-olds who enjoy shock value, and it's pathetic when their elders are cornered into unalloyed reverence". Miller suggested that critics could navigate this problem by being prepared "to give young artists credit for terrific music without being intimidated into

336-434: A "slap at the establishment, at publications such as the hippie homestead Rolling Stone and the rawker outpost Creem ", adding that the "1980s generation" of post-punk indie rockers had in the mid-2000s "been taken down by younger 'poptimists,' who argue that lovers of underground rock are elitists for not embracing the more multicultural mainstream". Powers likened the poptimist critics' debates about bands and styles to

448-470: A 2010 interview, stating, "Most of us [critics] begin writing about music because we love it so much. We can't wait to tell our friends and neighbors about what we're hearing." According to McCall, even over the course of a long professional career, the enthusiastic impulse to share "never fades". McCall expressed his interest in "examining why people respond to what they respond to. I hazard guesses. Sometimes I'm wrong, but I hope I'm always provocative." In

560-639: A booklet called "Jungle to Jukebox" that used racist, exotic tropes to illustrate the dangers of rock music to white youth. In the 2000s, online music bloggers began to supplement, and to some degree displace, music journalists in print media. In 2006, Martin Edlund of the New York Sun criticized the trend, arguing that while the "Internet has democratized music criticism, it seems it's also spread its penchant for uncritical hype". Carl Wilson described "an upsurge in pro-pop sentiment among critics" during

672-438: A chair and surrounded by extras are intermittently shown one after the other. The majority of the video revolves around Rihanna and the extras dancing in a room, while various special effects are incorporated; in the daytime video, Rihanna wears a colorful outfit, and she wears a black outfit in the nighttime video. In January 2011, both the daytime and nighttime videos were altered to include new footage featuring Guetta. Before

784-486: A challenge "for those of us concerned with historical memory and popular music performance". Simon Frith said that pop and rock music "are closely associated with gender; that is, with conventions of male and female behaviour". According to Holly Kruse, both popular music articles and academic articles about pop music are usually written from "masculine subject positions". Kembrew McLeod analyzed terms used by critics to differentiate between pop music and rock, finding

896-526: A challenge to taste hierarchies, and has remained a pugilistic, exhibitionist business throughout pop's own evolution". Powers claimed that "[i]nsults, rejections of others' authority, bratty assertions of superior knowledge and even threats of physical violence are the stuff of which pop criticism is made", while at the same time, the "best [pop criticism] also offers loving appreciation and profound insights about how music creates and collides with our everyday realities". She stated that pop criticism developed as

1008-560: A considerable amount of criticism from conservative Christian communities within the United States. This criticism was strongest throughout the 1960s and 70s, with some of the most prominent Christian critics being David A. Noebel , Bob Larson , and Frank Garlock . While these men were not professional music critics, they often claimed to be qualified rock critics because of their professional experiences with both music and religion. For example, Larson tried to assert his authority as

1120-559: A frame of mind where dark subject matter always gets a passing grade", stating that a critic should be able to call a young artist "a musical genius" while "in the same breath declaring that his or her lyrics are morally objectionable." Reacting to the state of pop music criticism, Miller identified a major issue as critics' failure to "credit an artist with getting a feeling across", specifically pointing out critic Lester Bangs as "a ball of emotion at all times", who nonetheless "never really related to his favorite artists as people who develop

1232-527: A further two weeks. The song debuted and peaked at number five in Norway on 29 November 2010, and remained in the top ten for three more weeks. In Spain, the song debuted at number 11 on 28 November 2010, and peaked at number five in its tenth week after fluctuating within the top twenty. The song was certified by the Productores de Música de España (PROMUSICAE), denoting sales of 20,000 copies. The track

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1344-459: A gendered dichotomy in descriptions of "'serious,' 'raw,' and 'sincere' rock music as distinguished from 'trivial', 'fluffy,' and 'formulaic' pop music". McLeod found that a likely cause of this dichotomy was the lack of women writing in music journalism: "By 1999, the number of female editors or senior writers at Rolling Stone hovered around a whopping 15%, [while] at Spin and Raygun , [it was] roughly 20%." Criticism associated with gender

1456-497: A graduate degree. One critic of the study pointed out that because all newspapers were included, including low-circulation regional papers, the female representation of 26% misrepresented the actual scarcity, in that the "large US papers, which are the ones that influence public opinion, have virtually no women classical music critics", with the notable exceptions of Anne Midgette in the New York Times and Wynne Delacoma in

1568-686: A number of other major newspapers "still have full-time classical music critics", including (in 2007) the Los Angeles Times , The Washington Post , The Baltimore Sun , The Philadelphia Inquirer , and The Boston Globe . Music writers only started "treating pop and rock music seriously" in 1964 "after the breakthrough of the Beatles ". In their book Rock Criticism from the Beginning , Ulf Lindberg and his co-writers say that rock criticism appears to have been "slower to develop in

1680-408: A party hall and sings to the song in front of a lion cage. Following this, Inna and various other back-up dancers are shown performing around and in a boxing ring. For the track's bridge , the singer is surrounded by multiple couples kissing in a huge human pyramid , while fireworks are blown out. Play & Win also have a cameo appearance playing a Yamaha keyboard surrounded by a partying crowd. In

1792-461: A perspective previously reserved for jazz artists to the rise of American-influenced local rock and pop groups, anticipating the advent of rock critics. Among Britain's broadsheet newspapers, pop music gained exposure in the arts section of The Times when William Mann , the paper's classical music critic, wrote an appreciation of the Beatles in December 1963. In early 1965, The Observer ,

1904-430: A rise of music critics who used YouTube and social media as their platform. According to Vice magazine's Larry Fitzmaurice in 2016, Twitter (X) is "perhaps the last public space for unfettered music criticism in an increasingly anti-critical landscape". In 2020, The New York Times described YouTuber Anthony Fantano as "probably the most popular music critic left standing." Fantano's channel, The Needle Drop,

2016-566: A rock critic by stating: "As a minister, I know now what it is like to feel the unction of the Holy Spirit. As a rock musician, I knew what it meant to feel the counterfeit anointing of Satan". Christian criticisms of rock music in the mid 20th century often centered around arguments that rock was both sonically and morally bad and physically harmful to both the body and soul. Using these central arguments, Noebel, Larson, Garlock, and other Christian critics of rock music wrote extensively about

2128-424: A skill of conveying feelings. You don't feel that he comfortably acknowledged being moved as a result of their honest work. Artists in his writing were vaguely ridiculous, fascinating primitives, embodying an archetype by accident of nature." Jezebel ' s Tracy Moore, in 2014, suggested that one of the virtues of writing about how music made one feel, in contrast with linking it to the sounds of other artists,

2240-593: A snowy day." "Who's That Chick?" was made available to download digitally in Australia, certain territories in Europe and the United States on 22 November 2010. In Germany, it was also released as a CD single on 26 November 2010; it included the original version of "Who's That Chick?" as well as an FMIF! remix of the song. In the United Kingdom, the song was released as a CD single on 28 November 2010. In

2352-528: A song", in the way that working musicians might discuss "the A-minor in the second measure of the chorus". Stevie Chick, a writer who teaches music journalism at City University London , said, "I think more than any other journalism, music journalism has got a really powerful creative writing quotient to it." Tris McCall of the Newark Star-Ledger discussed his approach to music criticism in

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2464-692: A sound for clubs [...]." "Club Rocker" was involved in a copyright infringement lawsuit in October 2014, with Spanish singer Robert Ramirez Carrasco accusing its composers, Play & Win, of copying the key accords of his song "A Minute of Life" (2011). He also claimed that he lost critical contacts and had suffered of depression as a result, further wanting representatives of the Uniunea Compozitorilor și Muzicologilor din România (Union of Composers and Musicologists from Romania) to analyze

2576-481: A sympathetic readership, given the nature of his publication, Goldstein's task was to win over a more highbrow readership to the artistic merits of contemporary pop music. At this time, both Goldstein and Williams gained considerable renown in the cultural mainstream and were the subject of profile articles in Newsweek . The emergence of rock journalism coincided with an attempt to position rock music, particularly

2688-400: A tissue in front of the camera, following which the viewer is introduced to a rally race between Inna and the aforementioned man. The next scene is set inside the singer's car — driven by Mihai Leu — wearing a grey leather jacket. During the chorus , Inna changes her clothes accompanied by three other female background dancers in a darkened elevator. Sporting a black dress, the singer enters

2800-542: A tradition of writing about rock since the 60's" has been "largely hidden in American culture". Brooks theorized that perceptions of female artists of color might be different if there were more women of color writing about them, and praised Ellen Willis as a significant feminist critic of rock's classic era. Willis, who was a columnist for the New Yorker from 1968 to 1975, believed society could be enlightened by

2912-547: Is an electropop song with "twisted techno riffs" and a "show–off production"; its "jerky" refrain is accompanied by "massive" electro beats. Lyrically, the track speaks about celebrating and partying. Jonathan Hamard from Pure Charts saw the recording as "much less stubborn" than her previous " Hot " (2008), " Amazing " (2009) and " Sun Is Up " (2010). In another article, the same editor compared "Club Rocker" to "the electro vein" of "Hot", but called it "more electric". Similarly, Jérémy B. of French website Melty wrote: "Definitely

3024-534: Is called "popism" – or, more evocatively (and goofily), "poptimism". The poptimism approach states: "Pop (and, especially, hip-hop) producers are as important as rock auteurs, Beyoncé is as worthy of serious consideration as Bruce Springsteen , and ascribing shame to pop pleasure is itself a shameful act." In 2008, Ann Powers of the Los Angeles Times argued that pop music critics "have always been contrarians", because "pop music [criticism] rose up as

3136-440: Is centered on a perception that rock critics regard rock as "normative ... the standard state of popular music ... to which everything else is compared". At a 2006 pop critic conference, attendees discussed their "guilty pop pleasures, reconsidering musicians ( Tiny Tim , Dan Fogelberg , Phil Collins ) and genres " which rock critics have long dismissed as lightweight, commercial music. Rosen stated that "this new critical paradigm"

3248-410: Is his main outlet, but he also streams music commentary on Twitch and posts on X. In an article published in 2024, Jessica Karl, a Bloomberg News columnist, opined that "the way we critique music is broken". She argues that the current culture of consuming new music, particularly with the release of Taylor Swift's album The Tortured Poets Department (2024), is unhealthy. While she found some of

3360-400: Is media criticism and reporting about music topics, including popular music , classical music , and traditional music . Journalists began writing about music in the eighteenth century, providing commentary on what is now regarded as classical music. In the 1960s, music journalism began more prominently covering popular music like rock and pop after the breakthrough of The Beatles . With

3472-443: Is pretty much impossible to resist." A reviewer for Popjustice was divided on the song's lyrics; though he found the line "beating like a disco drum" fantastic, he remained unconvinced by the line, "who's that chick", which he labelled as being stupid. Becky Bain for Idolator praised the song for not sounding as "generic" as Katy Perry 's releases " California Gurls " and " Teenage Dream " (2010). Tom Byron for The Vine compared

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3584-469: The Daily Star , Guetta addressed the song being removed from European radio stations playlists, saying "My record label sent letters to all the radio stations asking them to stop playing Who's That Chick as Rihanna's album was out at the same time. It was strange because normally record labels ask radio stations to play your music." Robert Copsey of Digital Spy described the collaboration as one of

3696-612: The Neue Zeitschrift für Musik (founded by Robert Schumann in 1834), and in London journals such as The Musical Times (founded in 1844 as The Musical Times and Singing-class Circular ); or else by reporters at general newspapers where music did not form part of the central objectives of the publication. An influential English 19th-century music critic, for example, was James William Davison of The Times . The composer Hector Berlioz also wrote reviews and criticisms for

3808-552: The Chicago Sun-Times . In 2007, The New York Times wrote that classical music criticism, which it characterized as "a high-minded endeavor that has been around at least as long as newspapers", had undergone "a series of hits in recent months" with the elimination, downgrading, or redefinition of critics' jobs at newspapers in Atlanta, Minneapolis, and elsewhere, citing New York magazine's Peter G. Davis , "one of

3920-544: The guitar shop , and now social media : when it comes to popular music, these places become stages for the display of male prowess", and adds, "Female expertise, when it appears, is repeatedly dismissed as fraudulent. Every woman who has ever ventured an opinion on popular music could give you some variation [of this experience] ...and becoming a recognized 'expert' (a musician, a critic) will not save [women] from accusations of fakery." Daphne Brooks, in her 2008 article "The Write to Rock: Racial Mythologies, Feminist Theory, and

4032-633: The "ecstatic experience" of visions expressed through music's rhythm and noise and that such joy would lead people to different ways of sharing. Brooks wrote that "the confluence of cultural studies, rock studies, and third wave feminist critical studies makes it possible now more than ever to continue to critique and reinterrogate the form and content of popular music histories". In Brooks' view, "By bravely breaking open dense equations of gender, class, power, and subcultural music scenes", music journalists, activists and critics such as Ellen Willis have been "able to brilliantly, like no one before [them], challenge

4144-541: The 2010s, some commentators noted and criticized the lack of negative reviews in music journalism. Saul Austerlitz from the New York Times Magazine noted that unlike other art forms, "music is now effectively free. Music criticism's former priority — telling consumers what to purchase — has been rendered null and void for most fans." He argued that this and " click culture " causes music critics to act as "cheerleaders" for existing stars. The 2010s saw

4256-611: The American south among black populations. Early conservative Christian criticisms of rock music had strong footings in racism. Most white conservative Christians in the mid 20th century understood that rock started among black populations and feared what the success of the genre implied for the church, segregation, and racial equality. When critiquing rock music, Christian critics commonly portrayed rock music with "primitive and exotic imagery to convey [its] African-roots". For example, The American Tract Society in New Jersey released

4368-546: The Beatles' work, in the American cultural landscape. The critical discourse was further heightened by the respectful coverage afforded the genre in mainstream publications such as Newsweek , Time and Life in the months leading up to and following the release of the Beatles' Sgt. Pepper's Lonely Hearts Club Band album in June 1967. Within this discourse, Richard Meltzer , in an essay for Crawdaddy! in March, challenged

4480-1160: The Club Rocker . 15. "Club Rocker (Adrian Sina Remix) [feat. Flo Rida]" – 4:47 16. "Club Rocker (DJ Assad Remix) [feat. Flo Rida]" – 3:38 17. "Club Rocker (Da Brozz Radio Edit) [feat. Flo Rida]" – 3:28 18. "Club Rocker (Da Brozz Club Remix) [feat. Flo Rida]" – 5:10 19. "Club Rocker (LuKone Radio Edit) [feat. Flo Rida]" – 3:46 20. "Club Rocker (LuKone Club Remix) [feat. Flo Rida]" – 5:44 21. "Club Rocker (Pat Farell Radio Edit) [feat. Flo Rida]" – 4:02 22. "Club Rocker (Pat Farell Club Remix) [feat. Flo Rida]" – 6:30 23. "Club Rocker (L.A. Sia Remix) [feat. Flo Rida]" – 5:46 24. "Club Rocker (Tony Zampa Remix) [feat. Flo Rida]" – 7:37 25. "Club Rocker ( Mike Candys Radio Edit) [feat. Flo Rida]" – 3:02 26. "Club Rocker (Mike Candys Club Remix) [feat. Flo Rida]" – 5:18 27. "Club Rocker (Jack Holiday Remix) [feat. Flo Rida]" – 4:49 28. "Club Rocker (Cutmore Radio Edit) [feat. Flo Rida]" – 2:52 29. "Club Rocker (Cutmore Club Remix) [feat. Flo Rida" – 4:37 Music journalism Music journalism (or music criticism )

4592-518: The Paris press of the 1830s and 1840s. Modern art music journalism is often informed by music theory consideration of the many diverse elements of a musical piece or performance, including (as regards a musical composition ) its form and style, and for performance, standards of technique and expression. These standards were expressed, for example, in journals such as Neue Zeitschrift für Musik founded by Robert Schumann , and are continued today in

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4704-522: The Pleasures of Rock Music Criticism", wrote that in order to restructure music criticism, one must "focus on multiple counter narratives" to break away from racial and gender biases as embodied in "contemporary cultural fetishizations of white male performative virtuosity and latent black male innovations". Brooks focused on "the ways that rock music criticism has shaped and continues to shape our understandings of racialized music encounters, and what are

4816-483: The U.S. than in England". One of the early British music magazines, Melody Maker , complained in 1967 about how "newspapers and magazines are continually hammering [i.e., attacking] pop music ". From 1964, Melody Maker led its rival publications in terms of approaching music and musicians as a subject for serious study rather than merely entertainment. Staff reporters such as Chris Welch and Ray Coleman applied

4928-608: The US Billboard Hot 100 chart on 29 January 2011, and remained on the chart for seven weeks. It peaked at number one on the Dance Club Songs chart and number 33 on the Mainstream Top 40 chart. "Who's That Chick?" ranked at number four on the top 50 best-selling Dance/Clubs Songs of 2011. Although "Who's That Chick?" was originally intended for inclusion on Rihanna's fifth studio album Loud ,

5040-559: The US, an extended play (EP) was released on 7 January 2011; it included a radio edit of the song, a remix by Adam F., as well as extended and instrumental versions. In February 2011, Virgin/EMI label executives asked European radio stations to remove "Who's That Chick?" from their playlists because Rihanna had multiple songs on the chart. Due to how Rihanna's Loud was released at the same time as Guetta's album, label executives asked radio stations to favor her work instead. In an interview for

5152-410: The United States "the emergence of a 'serious' rock press and the rock critic" began in 1966, presaged by Robert Shelton , the folk music critic for The New York Times , writing articles praising the Beatles and Bob Dylan , the last of whom had just embraced rock 'n' roll by performing with electric backing at the 1965 Newport Folk Festival . Paul Williams , an eighteen-year-old student, launched

5264-537: The World Music Institute interviewed four New York Times music critics who came up with the following criteria on how to approach ethnic music: A key finding in a 2005 study of arts journalism in America was that the profile of the "average classical music critic is a white, 52-year old male, with a graduate degree". Demographics indicated that the group was 74% male, 92% white, and 64% had earned

5376-880: The World) " and " What's My Name ", which charted at numbers seven and eight, respectively. With this feat, Rihanna became the fourth act in UK chart history to have at least three songs in the top ten of the UK Singles Chart. "Who's That Chick?" peaked at number six on 22 January 2011. It reached number one on the UK Dance Chart in January 2011. The song was certified platinum by the British Phonographic Industry (BPI) denoting shipments of 600,000 units. "Who's That Chick?" peaked at number 51 on

5488-425: The alternative stories that we might tell". Brooks pointed to Christgau's statement that, after the Beatles' arrival in America, "rock criticism embraced a dream or metaphor of perpetual revolution. Worthwhile bands were supposed to change people's lives, preferably for the better. If they failed to do so, that meant they didn't matter." Unsurprisingly, according to Brooks, "the history of women who've been sustaining

5600-494: The art. Applying critical theory ( e.g. , critical gender studies and critical race theory ) to music journalism, some academic writers suggest that mutual disrespect between critics and artists is one of many negative effects of rockism . In 2004, critic Kelefa Sanneh defined "rockism" as "idolizing the authentic old legend (or underground hero) while mocking the latest pop star". Music journalism "infected" with rockism has become, according to Yale professor Daphne Brooks,

5712-437: The beats used in rock music could cause rebellion in younger generations due to their hypnotic and influential nature. Drawing from styles like rhythm and blues and jazz music, rock and roll was first innovated by black communities, but was soon appropriated by white populations. This aspect of rock's history has been overlooked by historians and the media, but music experts now widely agree that rock's true origins lie in

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5824-413: The bright and colorful was more representational of her persona, saying "I've started to incorporate a lot of different colors into my wardrobe now. I'm loving that direction. Right now, it feels good and right. It was a cool concept too because it was kind of one side of me and now, it's evolving into the new colorful stuff that we've been doing." In an interview for MTV News , Guetta explained his role in

5936-459: The columns of serious newspapers and journals such as The Musical Times . Several factors—including growth of education, the influence of the Romantic movement generally and in music, popularization (including the 'star-status' of many performers such as Liszt and Paganini ), among others—led to an increasing interest in music among non-specialist journals, and an increase in

6048-761: The country's SNEP chart. After several weeks of moving up and down, the song climbed 67–32, reaching its peak position. On the Romanian Top 100 , the recording opened at number 43 in July 2011 as that week's highest new entry. It peaked at number 42 the following edition, remaining her lowest–charting single in the country until the release of " Caliente " (2012). In early 2012, "Club Rocker" peaked at number 64 in Switzerland, while opening at position 14 in Austria. This remains Inna's highest–peaking and debuting single in

6160-413: The country's highbrow Sunday newspaper, signalled a reversal of the establishment's cultural snobbery towards pop music by appointing George Melly as its "critic of pop culture". Following Tony Palmer 's arrival at The Observer , the first daily newspaper to employ a dedicated rock critic was The Guardian , with the appointment of Geoffrey Cannon in 1968. Melody Maker ' s writers advocated

6272-626: The country, while also the highest opening for an Eastern European artist. In Germany, the track became the singer's fifth entry and reached number 55. "Club Rocker" further peaked within the top five in Lebanon, and the top 20 in Slovakia, Turkey and the Polish Dance Top 50 . An accompanying music video for "Club Rocker" was shot by Alex Herron — with whom the singer had already collaborated for her " Sun Is Up " (2010) visual — during

6384-436: The daytime and nighttime videos for "Who's That Chick?" are the same, however, the former features Rihanna in a "bright and bubbly" setting while the latter depicts a darker scenario. In the daytime video, Rihanna puts a vinyl record of the song onto a record player , while in the nighttime video, she puts a CD into a CD player . At this moment, the song's audio begins to play. Various video stills of Rihanna sitting down on

6496-400: The demo recording to Rihanna backstage at one of her Last Girl on Earth concerts. In an interview with MTV News , Guetta revealed that he thought Rihanna did not like the song on first impressions, but was honoured when she agreed to record it. It was confirmed at a later date by Rihanna that the song would not appear on Loud ' s final track list, and that it would instead be included on

6608-457: The differences between 'good' and 'bad' music. In The Beatles: A Study in Drugs, Sex and Revolution , Noebel explained why rock music was 'bad' by contrasting it with qualities of 'good' music. In The Big Beat: A Rock Blast , similar arguments were posed by Garlock, with the additional argument that 'good' music must come from distinguished and educated musicians. Additionally, Larson argued that

6720-406: The early 2000s, writing that a "new generation [of music critics] moved into positions of critical influence" and then "mounted a wholesale critique against the syndrome of measuring all popular music by the norms of rock culture". Slate magazine writer Jody Rosen discussed the 2000s-era trends in pop music criticism in his article "The Perils of Poptimism". Rosen noted that much of the debate

6832-574: The emergence of Crawdaddy! Lindberg et al. say that, while Williams is widely considered to be the first American rock critic, he "nevertheless looked to England for material". According to Gendron, Goldstein's most significant early pieces were a "manifesto" on rock 'n' roll and "pop aestheticism", and a laudatory assessment of the Beatles' Revolver album. Published in late August, the latter article provided "the first substantial rock review devoted to one album to appear in any nonrock magazine with accreditory power". Whereas Williams could be sure of

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6944-528: The first verse, she "hollers" the lyrics "Feel the adrenaline/ Moving under my skin/ It's an addiction" over the heavy synth beat. During the chorus , Rihanna sings "She's been a crazy dita/ Disco diva, and you wonder/ Who's that chick? Who's that chick?/ Too cold for you to keep her/ Too hot for you to leave her/ Who's that chick? Who's that chick?", which incorporates heavy usage of Auto-Tune. Robert Copsey for Digital Spy described Rihanna's vocal performance as "nonchalant vocals feeling colder than an ice pop on

7056-588: The highbrow aesthetic of rock proposed by Goldstein. The latter's mixed review of Sgt. Pepper in The New York Times was similarly the subject of journalistic debate, and invited reprisals from musicologists, composers and cultural commentators. Among other young American writers who became pop columnists following Goldstein's appointment were Robert Christgau (at Esquire , from June 1967), Ellen Willis ( The New Yorker , March 1968) and Ellen Sander ( Saturday Review , October 1968). Christgau

7168-468: The intellectual and political activism and agency" of the entire music industry. Who%27s That Chick%3F " Who's That Chick? " is a song by French DJ and producer David Guetta featuring vocals from Barbadian singer Rihanna . It was released from the reissue of Guetta's fourth studio album One Love (2009), entitled One More Love (2010). The song was written by Guetta, Kinda "Kee" Hamid , Frédéric Riesterer, and Giorgio Tuinfort . Since

7280-565: The media. At that time, leading newspapers still typically employed a chief music critic , while magazines such as Time and Vanity Fair also employed classical music critics. But by the early 1990s, classical critics were dropped in many publications, in part due to "a decline of interest in classical music, especially among younger people". Also of concern in classical music journalism was how American reviewers can write about ethnic and folk music from cultures other than their own, such as Indian ragas and traditional Japanese works. In 1990,

7392-464: The more confusing releases of 2010, due to how the song was connected to three different projects, including the Dorito's campaign and both Guetta's and Rihanna's albums. Copsey praised Guetta's ability to provide a "proper dance-pop stonker" and was complimentary of its composition. He concluded his reviewing with "It's a good job, then, that bopping along to this – and warming yourself up in the process –

7504-421: The most respected voices of the craft, [who] said he had been forced out after 26 years". Viewing "robust analysis, commentary and reportage as vital to the health of the art form", The New York Times stated in 2007 that it continued to maintain "a staff of three full-time classical music critics and three freelancers", noting also that classical music criticism had become increasingly available on blogs, and that

7616-524: The music video, saying "I'm DJing from a spaceship. It's actually really funny, because we shot that in Los Angeles in a place where they used to shoot Star Trek , but like the old ones. And so it's kind of retro futuristic, you know? It's like how people were seeing the future back in the 80s. It has a sense of humor in the video." The nighttime version was released as the song's official music video to download digitally on 1 February 2011. Both

7728-406: The new forms of pop music of the late 1960s. "By 1999, the 'quality' press was regularly carrying reviews of popular music gigs and albums", which had a "key role in keeping pop" in the public eye. As more pop music critics began writing, this had the effect of "legitimating pop as an art form"; as a result, "newspaper coverage shifted towards pop as music rather than pop as social phenomenon". In

7840-457: The number of critics by profession of varying degrees of competence and integrity. The 1840s could be considered a turning point, in that music critics after the 1840s generally were not also practicing musicians. However, counterexamples include Alfred Brendel , Charles Rosen , Paul Hindemith , and Ernst Krenek ; all of whom were modern practitioners of the classical music tradition who also write (or wrote) on music. Women music journalists in

7952-460: The plaudits and criticism. She condemned the Paste review for making "a litany of petty, exclamation-pointed digs" at Swift, and dismissed the rave Rolling Stone review for calling the album a classic within a day, as well as criticizing articles by "reputable publications" like Time and The Philadelphia Inquirer for catering gossip to the masses and fandom instead of serious journalism of

8064-631: The pop journal Crawdaddy! in February 1966; in June, Richard Goldstein , a recent graduate and New Journalism writer, debuted his "Pop Eye" column in The Village Voice , which Gendron describes as "the first regular column on rock 'n' roll ... to appear in an established cultural publication". Rock journalist Clinton Heylin , in his role as editor of The Penguin Book of Rock & Roll Writing , cites "the true genesis of rock criticism" to

8176-454: The project, saying: "I'm really excited about 'Who's That Chick?' and wanted to find a fresh and unique way to share it with my fans ... When I saw how cool the augmented reality performance Doritos created was, I knew this was it. This was the way I wanted to make 'Who's That Chick?' available to the world, and I can't wait to see how my fans get engaged in this innovative experience." In an interview for Just Jared , Rihanna explained how

8288-437: The re-release of Guetta's One Love , in which Rihanna appeared as a featured artist. "Who's That Chick?" is a dance-pop song and instrumentation consists of synthesizers. "Who's That Chick?" received positive reviews from music critics , the majority of whom praised the collaboration between Guetta and Rihanna as well as its composition. It was described as one of the more interesting songs to be released in 2010, due to how

8400-622: The realm of rock music, as in that of classical music, critics have not always been respected by their subjects. Frank Zappa declared that "Most rock journalism is people who can't write, interviewing people who can't talk, for people who can't read." In the Guns N' Roses song " Get in the Ring ", Axl Rose verbally attacked critics who gave the band negative reviews because of their actions on stage; such critics as Andy Secher , Mick Wall and Bob Guccione Jr. were mentioned by name. Rock music received

8512-463: The release of Loud , Rihanna clarified via Twitter that "Who's That Chick?" was not linked to Loud and that it would not appear on the album. "Who's That Chick?" is a dance-pop song, which lasts for 2:47 (2 minutes, 47 seconds) on the radio edit. Instrumentation consists of pounding synthesizers. Rihanna's vocals on the song are technologically processed using the Auto-Tune effect. For

8624-414: The reviews of the album were "well-considered", she opined others were pre-written and "daft". She explained that critics are "staying up until dawn to finish listening to an album as if it's a college paper we're cramming to complete by the morning" and long albums like the 31-track Tortured Poets frustrate them. Karl also felt that reviews appearing online within hours of an album's release discredits both

8736-464: The rise of the internet in the 2000s, music criticism developed an increasingly large online presence with music bloggers, aspiring music critics, and established critics supplementing print media online. Music journalism today includes reviews of songs, albums and live concerts, profiles of recording artists , and reporting of artist news and music events. Music journalism has its roots in classical music criticism , which has traditionally comprised

8848-433: The singer did not like it on first impressions and doubted it, but stated that after the concert, the singer told Guetta that she could not stop thinking about the song's beat whilst she performed, and asked to record it. The final cut of the song was included on One More Love (2010) and Rihanna appeared as a featured artist. Guetta concluded the interview by saying that he felt "honored" to have worked with Rihanna. Prior to

8960-470: The singer, Guetta came up with an idea for a song called "Who's That Chick?", and decided that it was "perfect" for Rihanna. After he completed the demo, he pre-viewed the song's instrumental on a French radio station, but did not confirm which artist would contribute vocals. Guetta played the song to Rihanna whilst backstage at one of her Last Girl on Earth (2010–2011) concerts, to which Rihanna said "Yeah, I like it." Guetta confessed that he felt as though

9072-655: The singles chart in its seventh week on 15 January 2011. It was certified gold by the Belgian Entertainment Association (BEA), denoting sales of 10,000 copies. The song peaked at number four in Austria on 12 December 2010. It debuted at number 11 in Finland on 29 November 2010, and peaked at number five two weeks later. In France, "Who's That Chick?" debuted at number six on 29 November 2010, where it remained in its second week. The song peaked at number five in its third week, where it remained for

9184-544: The song contains an interpolation of " Who's That Girl ", Madonna and Patrick Leonard are credited as co-writers as well. It was released internationally as the second single on 22 November 2010 as a digital single , and was also released as a CD single and an Extended play (EP), the latter of which was released in the United States and contained remixes of the song. Guetta was asked to produce songs for Rihanna's fifth studio album, Loud (2010). After he brainstormed ideas, Guetta conceptualised "Who's That Chick?" and played

9296-539: The song debuted at 28 on 28 November 2010, and peaked at number eight for two consecutive weeks 10 January 2011. The song was certified platinum by the Recording Industry Association of New Zealand (RIANZ), denoting sales of 15,000 copies. In Europe, "Who's That Chick?" debuted at number nine on the singles chart in the Wallonia region of Belgium on 12 December 2010 and peaked at number on

9408-565: The song deviated from the formulaic production on the album, but criticized Flo Rida's vocals as "phoned–in". An editor from Direct Lyrics praised the track's catchiness and energy, although "not as good as her previous stuff". Kevin Apaza from the same website was similarly positive towards "Club Rocker" and foresaw its commercial success, but likened the line: "She's moving like oh, oh oh" to " Who's That Chick? " (2010) by French disc jockey David Guetta and Barbadian singer Rihanna . Similar praise

9520-963: The song on 30 May and 17 June 2011, respectively. The singer also performed the track on 23 July during the NRJ Music Tour in Beirut and at the Starfloor on 26 November 2011 at the Palais Omnisports de Paris-Bercy in Paris . Other live performances of "Club Rocker" occurred during Inna's YouTube "Rock the Roof" series on the roof of a building in Paris on 22 December 2011, and at the World Trade Center Mexico City in September 2012 along with other material from I Am

9632-561: The song to Australian singer Guy Sebastian 's " Who's That Girl " (2010) and Madonna's " Who's That Girl " (1987). "Who's That Chick?" achieved moderate chart success around the world. In Australia, it debuted at number 36 on 5 December 2010, and peaked at number seven in its eighth week on the singles chart. It was certified double platinum by the Australian Recording Industry Association (ARIA), denoting shipments of 140,000 units. In New Zealand,

9744-545: The song was connected to multiple projects, including a promotional campaign with Doritos and both artist's albums. The song achieved moderate chart success; it peaked at number one on the Wallonia singles chart in Belgium, Slovakia, the UK Dance Chart and the US Dance Club Songs chart. It attained top five positions on the singles charts in Austria, Finland, France, Ireland, Norway, Spain and Switzerland. It

9856-681: The song was helmed by Guetta, Riesterer and Tuinfort. In an interview with Akshay Bhansali for MTV News , Guetta explained that the song was originally intended for inclusion on Rihanna's fifth studio album, Loud (2010), but that he decided to include it on the re-release of his own album, One Love (2009), when it did not make Loud ' s final cut. Guetta revealed that he was asked to produce tracks for Loud , but did not have anything which he felt would compliment Rihanna. He stated that although two artists want to collaborate and are fans of each other, it does not always come to fruition. However, after brainstorming ideas for what he could produce for

9968-408: The song well and appealed to the male audience, while a Unica writer thought: "[...] a modern love story was created in a turbulent city." Direct Lyrics's Apaza criticized the music video as a "cheaper copy" of Rihanna's " Shut Up and Drive " (2007) visual. The visual received notable airplay on Polish television, where it peaked at number three on ZPAV 's component video chart in September 2011. It

10080-478: The song's accompanying daytime video was used as part of Doritos Late Night Campaign. Jonas Åkerlund directed both daytime and nighttime versions for the song, which featured different colors and styles. The daytime video leaked onto the Internet on 17 September 2010, before it was given an official release. In a press statement given by Rihanna , the singer revealed how she was excited to work with Doritos on

10192-401: The song's audio begins to play, the video begins with a view of outer space before it cuts to what appears to be the interior of a spaceship. Guetta is then shown to step out of an airlock where smoke surrounds him. Different shots of television screens and other spaceship hardware are shown as Guetta begins to observe the singer's actions from a control room. Rap-Up commented that by having

10304-533: The span of three days in Brașov and Bucharest , Romania. Maz Makhani acted as the director of photography , while a French team was hired. A special casting call for a role in the visual was drawn, with the winner to be determined after downloading Internet Explorer 9 and answering a few questions about Inna. One of the submitters was Romanian socialite and model Natalia Mateuţ, who however withdrew after learning that she would have had to appear barely dressed. The clip

10416-457: The study, discussion, evaluation, and interpretation of music that has been composed and notated in a score and the evaluation of the performance of classical songs and pieces, such as symphonies and concertos . Before about the 1840s, reporting on music was either done by musical journals, such as the Allgemeine musikalische Zeitung (founded by Johann Friedrich Rochlitz in 1798) and

10528-587: The top 30 in multiple countries. "Club Rocker" was digitally released on 30 May 2011 by Roton as the second single from Inna's second studio album I Am the Club Rocker (2011). A remix featuring American rapper Flo Rida was also eventually made available. An accompanying cover artwork was shot by Edward Aninaru , who called the session "a real deployment of forces". The track was written and produced by Romanian trio Play & Win members Sebastian Barac, Radu Bolfea and Marcel Botezan, and samples French disc jockey Seight's "Bass Attitude" (2010). "Club Rocker"

10640-484: The traditional high / low culture split, usually around notions of artistic integrity, authenticity, and the nature of commercialism". These review collections, Shuker continues, "became bibles in the field, establishing orthodoxies as to the relative value of various styles or genres and pantheons of artists. Record collectors and enthusiasts, and specialisation and secondhand record shops, inevitably have well-thumbed copies of these and similar volumes close at hand." In

10752-429: The truth will be proven in court". In May 2018, after nearly four years, the court found Play & Win not liable of plagiarism and demanded fines of 91,000 lei from Ramirez. Music critics gave generally positive reviews of the recording. An editor writing for German radio station BB Radio commended "Club Rocker" as a highlight on I Am the Club Rocker . Similarly, Jon O'Brien from AllMusic positively noticed that

10864-675: The twentieth century who covered classic music performance include Ruth Scott Miller of the Chicago Tribune (1920-1921), Henriette Weber at the Chicago Herald-Examiner , and Claudia Cassidy , who worked for Chicago Journal of Commerce (1924–1941), the Chicago Sun (1941–42) and the Chicago Tribune (1942–65). In the early 1980s, a decline in the quantity of classical criticism began occurring "when classical music criticism visibly started to disappear" from

10976-406: The two different videos, it shows that "every good girl has a bad side." Becky Bain for Idolator described the daytime video as "the super-colorful cheery vid" and the nighttime video as a "macabre Halloween makeover." In another review of the video, Bain wrote that the daytime version presented Rihanna as "having the most fun she's had in ages." Bain continued to praise the creative direction for

11088-566: The two recordings. Both composers Ionel Tudor and Horia Moculescu found major similarities. After reportedly failing to reach an agreement, Ramirez demanded a reported € 227–300,000 in damages at the Tribunalul București ( Bucharest Court). Inna's manager, Ștefan Lucian, negated the accusations: "The musical theme is not only used in several Play & Win songs, but also in other international records. Robert can not say he had copyright on this side." The singer itself also said: "Certainly

11200-403: The video's final scene, Inna hooks up with "Thomas11", who had previously lost the race. The clip was met with generally positive reviews. A Melty editor called the singer's outfits "quite free and crazy", and wrote: "Ready to reclaim the dancefloor, Inna preserves her festive and dancing spirit while her energy continues to make us move [...]." French portal Pure People felt that the video suited

11312-432: The video, writing "It's so refreshing to see RiRi smiling and ready to party after her gun-weilding [ sic ], lake-drowning, loving-the-way-you-lie humorless somber phase." Amy Lee for Metro compared the daytime video's colorful stylization to Katy Perry's video for "California Gurls". Nicole James for MTV Buzzworthy compared the nighttime video's dark persona to that of Rihanna's own for " Disturbia ". Chris Ryan for

11424-457: The world of pop music criticism, there has tended to be a quick turnover. The "pop music industry" expects that any particular rock critic will likely disappear from popular view within five years; in contrast, according to author Mark Fenster, the "stars" of rock criticism are more likely to have long careers with "book contracts, featured columns, and editorial and staff positions at magazines and newspapers". Author Bernard Gendron writes that in

11536-674: Was also nominated for "Best Video" at the 2012 Romanian Music Awards , but lost in favor of Romanian singer Andreea Bănică 's "Sexy". During the shooting for the music video of "Club Rocker", the singer uploaded a clip onto YouTube of her singing a capella portions of the song, which was praised by critics. Inna performed the single live for the first time during her Inna: Live la Arenele Romane gig in Bucharest on 17 May, while also appearing on NRJ in France and Europa FM in Romania to sing

11648-472: Was also nominated in the "Best Video" category at the 2012 Romanian Music Awards . The clip portrays Inna at an auto service center and taking part in a rally race . She further promoted the recording through live performances, including at the NRJ Music Tour and Starfloor in 2011, while appearing on several radio stations. Commercially, "Club Rocker" reached number four in Lebanon and peaked within

11760-627: Was certified gold by the Bundesverband Musikindustrie (BVMI), denoting shipments of 150,000 copies. The song was less successful in Sweden and The Netherlands, where it peaked at numbers 14 and 16, respectively. In the United Kingdom, "Who's That Chick?" debuted at number nine on the UK Singles Chart on 11 December 2010. In the same chart issue, two other songs by Rihanna were also in the top ten, " Only Girl (In

11872-472: Was graphically discussed in a 2014 Jezebel article about the struggles of women in music journalism , written by music critic Tracy Moore, previously an editor at the Nashville Scene . Moore described how another female music blogger, an "admitted outsider" who threatened no stereotypes, was greeted with enthusiasm by men, in contrast with Moore's own experiences as a self-described "insider" who

11984-697: Was less successful on the US Billboard Hot 100 chart, where it peaked at number 51. Two accompanying music videos were directed by Jonas Åkerlund . A bright and colourful daytime version was shot and used to promote the Doritos campaign, whilst a more dark and sinister nighttime version was shot as the song's official music video. "Who's That Chick?" was written by David Guetta , Kinda "Kee" Hamid , Patrick Leonard , Madonna , Frédéric Riesterer and Giorgio Tuinfort . The song interpolates Madonna's 1987 single " Who's That Girl ", written by Madonna and Patrick Leonard, hence being credited as co-writers. Production of

12096-446: Was nevertheless expected to "prove" or "earn" her way into a male-dominated journalism scene. According to Anwen Crawford, music critic for Australia's The Monthly , the "problem for women [popular music critics] is that our role in popular music was codified long ago"; as a result, "most famous rock-music critics – Robert Christgau, Greil Marcus , Lester Bangs , Nick Kent – are all male". Crawford points to "[t]he record store ,

12208-478: Was outspoken by website Meltly: "Certainly, Inna will be the major artist of the summer and will crack the most delusional revelers." Based on the recording's success, Libertatea called Inna a "spokesman" of Romania. Pro FM listed "Club Rocker" in their list of "16 hits with which Inna made history". Commercially, "Club Rocker" experienced moderate success on record charts . It excelled on both club and sales rankings in France, ultimately debuting at number 53 on

12320-431: Was the "originator of the 'consumer guide' approach to pop music reviews", an approach that was designed to help readers decide whether to buy a new album. According to popular music academic Roy Shuker in 1994, music reference books such as The Rolling Stone Record Guide and Christgau's Record Guide played a role in the rise of rock critics as tastemakers in the music industry, "constructing their own version of

12432-467: Was to avoid excluding readers who may not have musical knowledge as broad as that of the writer. In contrast, Miller believed that analytical readers would appreciate "more music talk in music criticism", suggesting that "sensitively modest doses" of musical analysis would provide helpful support for a conclusion "that great melody writing occurred or it didn't". For example, Miller noted that critics rarely "identify catchy melodies as specific passages within

12544-464: Was uploaded onto Inna's YouTube channel on 26 June, preceded by the release of a 27−second teaser on 13 June 2011. Inna's solo version of "Club Rocker" was used for the visual. The video opens with a few women fixing a car in an auto service center . This is followed by Inna emerging from a black car, wearing a black leather bolero, blue jeans and lace high−heel boots. She then appears tweeting on her phone to another service man ("Thomas11") and waves

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