Pet names like ‘darling' and ‘babe' are on the way out – as young Gen Z Brits brand them outdated
PET names like 'darling' and 'babe' are on their way out - as a fifth of young Brits brand them outdated, according to a new poll.
Twenty one per cent of Gen Z voted the terms of endearment as the most patronising.
1
A fifth of young Brits say they find pet names like 'darling' to be outdated
Credit: Getty Images - Getty
It comes as three quarters (77 per cent) claim traditional nicknames are now considered too old school or even insulting.
'Treacle' took the top spot as the most annoying moniker (38 per cent), followed by 'chick' (35 per cent), 'sugar' (31 per cent) and 'hon' (29 per cent).
Other old-fashioned pet names that make youngsters cringe are 'duck' (25 per cent), 'muffin' (28 per cent), and 'love' (13 per cent).
One in five (20 per cent) of those surveyed by Coca-Cola say having an individual nickname, rather than a generic one, makes them feel an important part of their friendship group.
The fizzy drink brand has brought back its 'Share a Coke' campaign where fans can personalise a can with a name of their choice by scanning the QR code on a pack or in-store from May 15.
Charlotte Butt, Senior Marketing Manager at Coca-Cola, said: 'Nick names reflect the unique relationships between individuals and the evolution of language within friendship groups.'
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Scottish Sun
an hour ago
- Scottish Sun
I make a fortune selling my HAIR to random men online – I took my braids out & one bloke sent me £800 just to sniff them
Lateisha also makes cash from selling old earbuds and foot masks HAIR THIS I make a fortune selling my HAIR to random men online – I took my braids out & one bloke sent me £800 just to sniff them Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) A WOMAN has revealed that she makes hundreds by selling her braids to random men online. Lateisha Jones, 24, has a very unconventional approach to making cash, and previously revealed that she flogs her used foot masks and earbuds online. Sign up for Scottish Sun newsletter Sign up 2 Lateisha sells her braids to a random man Credit: TikTok / latieshajbackup 2 The man likes to smell her braids Credit: TikTok / latieshajbackup And now, the entrepreneur has shared one man pays to have a sniff of her hair. Taking to TikTok Lateisha explained that every six to eight weeks, she takes out her braids, and sends them to one specific customer. She said that people always assume that this man must be "old" or "weird. However, she described him as a "regular road man" in his twenties. Explaining what the man wants the braids for, Lateisha revealed: "He smells the braids and does his business." The TikToker revealed that she knows some people are attracted to the smell of unwashed hair, although she added that this is not a scent that pleases herself. "Because my braids are attached to my head, and they are in for so long, they have the unwashed hair smell", she said. Lateisha added that people always ask her whether she is concerned about pieces of her real hair getting mixed in with the braids she sends to the stranger. However, she said that this doesn't bother her as "he's not a serial killer, and he's not going to plant me at a crime scene." In a second video, Lateisha showed herself packing up the hair, and writing a "cute" card to send to the man. I earn cash by selling 'actual rubbish' on eBay - I flogged a freebie I found on the floor by a bin for £10, it's crazy "Hope they smell as good as they looked on my head", she said, adding a lipstick kiss to the card. Lateisha then showed screenshot of her bank account, revealing that the man had deposited £800 in her account for the braids. The video, posted to her account @latieshajbackup, has likely left many people impressed, as it racked up a whopping 105,000 views on the video sharing platform. TikTok users raced to the video's comments section to share their thoughts on her unique side hustle. Side hustles in numbers Based on new research from Finder, an estimated 22.8 million Brits are using side hustles to top up their income. Among those aged 18-23, 68 percent have a side hustle in 2024. Those aged 24-42 aren't far behind, with 65 per cent having an additional source of income. Side hustles are less popular among older generations, with 40 percent of those aged 43-54 having one. Whereas 23 percent of people aged 55-73 and just 7 per cent of those aged 74 and over are earning extra cash this way. One person said: "I've found my dream career!" A second said: "I'm about to start selling my extensions!" A third added: "How do I start this!"
Scotsman
an hour ago
- Scotsman
is it still a metal classic or has it aged like milk?
This article contains affiliate links. We may earn a small commission on items purchased through this article, but that does not affect our editorial judgement. Has Fear Factory's Demanufacture stood the test of time or, as the prosecution accuse, become a 'flimsy structure' for metal to follow? Sign up to our daily newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to Edinburgh News, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Fear Factory's 1995 album Demanufacture is widely considered a landmark in metal, but its legacy remains fiercely debated. Accusations range from being overly mechanistic and cold to lacking the warmth and organic feel of traditional metal Is it a pioneering work guilty of derailing a genre, or is it a misunderstood masterpiece deserving of a dramatic re-evaluation? Today, we convene in the solemn chambers of public opinion to preside over a musical case that, while critically lauded in its time, has since been subjected to scrutiny, mischaracterisation, and perhaps, a failure to fully grasp its true impact. On trial: Demanufacture by Fear Factory, a 1995 release that arrived with the force of a hydraulic press, forging a path between industrial coldness and metallic brutality. Often cited as a pioneering work, it has also faced criticisms of being too rigid, too mechanical, and even, by some, too influential in ways that led to less desirable offshoots. Advertisement Hide Ad Advertisement Hide Ad The defence, however, believes there is compelling evidence for its enduring genius and rightful place as a monumental achievement in heavy music. Before we delve into today's proceedings, let us set the scene. Is Fear Factory's Demanufacture a work of art, or is it merely a work of 'calculated aggression?' | Getty Images/Canva In the mid-1990s, the landscape of heavy music was in flux. Metal, in its traditional forms, was still powerful, but new hybrids were emerging, challenging conventions and setting the stage for what would become one of the decade's most defining, and often divisive, sounds: nu-metal. It was into this fertile, yet volatile, ground that Fear Factory emerged. Formed in Los Angeles in 1989, Fear Factory quickly distinguished themselves from their peers. Comprised of vocalist Burton C. Bell, guitarist Dino Cazares, bassist Christian Olde Wolbers, and drummer Raymond Herrera, the band forged a unique sound that relentlessly fused industrial machine-like precision with death metal's aggression and groove metal's rhythmic drive. Advertisement Hide Ad Advertisement Hide Ad They built a reputation for pioneering a distinct rhythmic assault, often employing blast beats, double bass drumming, and heavily palm-muted guitar riffs that sounded more like percussive machinery than traditional shredding. Their lyrical themes, consistently exploring the uneasy relationship between man and machine, technology and humanity, carved out a distinct conceptual identity that resonated with a generation grappling with the digital age. It was in 1995 that Fear Factory released their second studio album, Demanufacture. Upon its arrival, it was heralded by many as a ground-breaking work, a bold leap forward that redefined the boundaries of extreme music. However, over the years, Demanufacture has become a subject of considerable controversy and debate. While praised for its innovation and brutal efficiency, it has also been accused of being cold, sterile, and overly mechanical, with critics questioning its emotional depth and whether its influential sound inadvertently paved the way for more simplistic and less organic forms of metal. Advertisement Hide Ad Advertisement Hide Ad To truly analyse its impact and legacy – and to confront these long-standing accusations – we are today putting Demanufacture on 'musical trial' in the court of public opinion. Let the proceedings begin. In defence of: Fear Factory - Demanufacture The Charge The album, Demanufacture by Fear Factory, stands accused of being a sterile, overly mechanistic, and emotionally cold blueprint for a wave of metal that prioritised rhythm and aggression over organic feel and nuanced musicianship, ultimately contributing to a perceived dehumanisation of the genre. The Prosecution Ladies and gentlemen of the jury, we are presented today with an album that, on the surface, might appear to be a marvel of precision and force. Indeed, upon its release, Demanufacture was met with considerable acclaim. But I submit to you that this very precision, this relentless, machine-gun rhythm, this calculated coldness, is precisely its greatest sin. The evidence will demonstrate that Demanufacture, for all its apparent innovation, presented a stark, almost unfeeling vision of metal. The drumming, while undeniably fast, often felt more like a programmed beat than the fluid expression of a human hand. Advertisement Hide Ad Advertisement Hide Ad As one reviewer noted regarding drummer Raymond Herrera's work, it's "precision machine gun fire drum work," often raising questions of "whether his drum work is not redone to some extent with studio magic, because it is totally mind blowing, despite the fact that he rarely touches his cymbals." This "machine-like" quality, while impressive, sacrifices the organic warmth of human performance. The guitar riffs, precise and percussive, largely eschewed the melodic complexity and dynamic range that defined earlier eras of metal, reducing the instrument to a rhythmic hammer. Critics have pointed out that Demanufacture "doesn't try to wow you with high-pitched vocals or blazing guitar solos as this album features absolutely none of that." This minimalist approach to traditional metal elements, while a deliberate choice, stripped away much of the expressive freedom cherished by purists. Even the vocals, while shifting between guttural roars and clean, almost ethereal melodies, often contributed to an unsettling dichotomy rather than a cohesive emotional landscape, with some finding the clean vocals "somewhat off key" at times Advertisement Hide Ad Advertisement Hide Ad We contend that this album, by "prioritising mechanisation over human elements" [paraphrased from general criticism], laid the groundwork for a future where metal became less about fiery passion and more about calculated aggression, paving the way for bands that would imitate its mechanical precision without capturing its conceptual ambition. It streamlined, it systematised, it... de-manufactured the very soul of heavy music, leading to a sound that, "while powerful, often sounded very lifeless when compared to their later work" and "very compressed by today's standards." It set a precedent for a sound that, in less capable hands, often became predictable, repetitive, and ultimately, devoid of the human element. The defence may speak of innovation, but we will show you an album that, despite its power, ultimately sacrificed warmth and humanity for the cold, unyielding embrace of the machine. This album, we contend, is guilty of establishing a blueprint that, while powerful, often led metal astray. Advertisement Hide Ad Advertisement Hide Ad The defence Members of the court of public opinion, I appreciate the arguments that the Prosecution has levied against the album, but I remind them of the state of metal at the time. This was in 1995, where the metal genre was just on the cusp of breaking into mainstream avenues through acts such as Korn, Limp Bizkit, and in later years, Linkin Park. Where some groups might have changed their formula to reflect the change in trends, I argue that Fear Factory "evolved" their sound not simply to be accessible for newer fans of the genre, but to ensure they did not alienate older fans of their industrial style. Demanufacture indeed sounds emotionally cold and lacks organic warmth; but that is precisely the point of the album. It's a meticulously crafted concept album about a man's struggles against a machine-controlled government, with each song a chapter in his life. As the band themselves stated, the album took its inspiration from the movie The Terminator, and within that context, the 'stark, unfeeling' nature of the album and lack of organic warmth is not a flaw, but a deliberate and essential artistic choice. This is an album that is meant to evoke emotions of technology taking over organic matter, and thus had to prioritise mechanisation over human elements. Not just that, but the very nature of industrial metal lends itself to having a cold, mechanical resonance to it, and I point to the likes of Nine Inch Nails or Godflesh as previous evidence of this aesthetic being central to the genre. Advertisement Hide Ad Advertisement Hide Ad The charges of being lifeless and compressed, giving it a powerful, suffocating feel, are exactly the kind of emotions Fear Factory looked to evoke with the work. Again, members of the court, this is a concept album about technology taking over. The relentless, percussive guitaring perfectly compliments the blunt force nature of the drumming, giving listeners such as myself vivid images of mechanical presses, whirling machinery, and cold, metallic elements as part of the story's chilling narrative. This wasn't a flaw; it was a masterful sonic design choice that immersed the listener in the album's dystopian vision. As for the charge against Burton C. Bell's vocals, his performance perfectly embodies the album's themes of man versus machine. What the Prosecution labels as "off-key" is, I submit, an unfair and superficial judgment. The stark contrast between the desperate, vulnerable human element of Bell's clean singing and the cold, almost automated yells, demonstrates the harrowing duality of the album's core concept. Advertisement Hide Ad Advertisement Hide Ad It's the sound of humanity struggling for breath against an overwhelming, artificial perfection, and in many respects, a chilling premonition of what life, according to Demanufacture, has become. This vocal interplay isn't a weakness; it's a dynamic storytelling device, full of nuanced emotion that transcends simple melody. Furthermore, to label Demanufacture as a "harmful blueprint" that led metal "astray" is to fundamentally misunderstand its pioneering spirit. This album was not simply following trends; it was very much steadfast in the industrial metal blueprint, while expertly borrowing from the burgeoning groove metal scene that was popular at the time. That it didn't lead metal "astray" should be more of a testament to the importance of the record across the metal genre, rather than dismissing it as building "flimsy structures" going forwards. It's not Fear Factory's fault if other artists were inspired, influenced, or outright cribbed from them and produced second-rate imitations—much like it is unfair to blame The Beatles for a "flimsy structure" regarding the raft of British pop acts that followed them or an act like The Libertines being accused of laying a formula for what has been called these days as 'landfill indie.' True innovation, like that found on Demanufacture, always risks inspiring lesser imitations. This album's influence should be celebrated, not condemned, for opening new sonic pathways in heavy music. I rest my case, your honour(s) Advertisement Hide Ad Advertisement Hide Ad What is your verdict on Fear Factory's 1995 album Demanufacture? Share if you're for or against the album by leaving a comment down below, and catch Fear Factory when they peform at Bloodstock Open Air 2025 in August 2025.
Scottish Sun
2 hours ago
- Scottish Sun
Harry & Wills' pal the Duke of Westminster welcomes first baby with wife Olivia as pair reveal adorable name
The Duke is godfather to Prince George BABY JOY Harry & Wills' pal the Duke of Westminster welcomes first baby with wife Olivia as pair reveal adorable name Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) THE Duke and Duchess of Westminster are "thrilled" as they welcome their first child. Their baby girl, Cosima Florence Grosvenor was born today in London. Sign up for Scottish Sun newsletter Sign up 3 The Duke and Duchess of Westminster have welcomed a baby girl Credit: PA 3 The pair got married in June 2024 Credit: Getty Hugh Grosvenor, a Billionaire aristocrat who is a long-term friend of the Duke of Sussex and Prince William, and his wife Olivia, married last year. A spokesperson for the couple said: "The Duke and Duchess of Westminster are thrilled to announce the birth of their baby daughter. "Both the duchess and Cosima are doing well. "The duke and duchess now look forward to spending this special time together as a family." They announced the pregnancy in March, with a spokesperson saying: "The couple are delighted with the news and are very much looking forward to starting a family together." The Duke is godfather to Prince George, and also reportedly to Prince Archie. During the couple's wedding at Chester Cathedral in June 2024, William acted as Usher. Harry wasn't in attendance amid his long-running rift with his brother. Hugh had previously been considered one of the country's most eligible bachelors. He became an instant billionaire when he inherited his title, and the historic Grosvenor Estate, aged 25 following the death of his father from a heart attack in 2016. Duke of Westminster's wedding exposed Harry & William's brutal rift - one encounter would've been excruciating, says pro His property company, Grosvenor Group, owns hundreds of acres of land in Mayfair and Belgravia, as well as major city developments like Liverpool's One shopping centre. In 2020, Hugh donated £12.5 million to the Covid-19 relief effort across NHS Charities Together, as well as across medical research and development. 3 Prince William acted as usher at their wedding at Chester Cathedral Credit: Getty
