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Posted
9 hours ago, RideOrDie said:

Britney Spears - My Only Wish (This Year) (Instrumental + Karaoke) / 2023.10.27

 

ezgif-2-919de9d552.thumb.gif.d948cdf961e

They are even releasing Slowed and Fast versions :party:

 

 

 

Wonder what kind of other things they have in plan for her :cupid:

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Posted

 

  • Like 2
Posted

 

just uploaded my remaster of state of grace! new drums and some extra synths. check it out if you're curious!

  • Like 2
Posted

As a Mariah/Janet stan who are regularly doing anniversary releases, I hope there is something in line for the 25th anniversary of ...Baby One More Time album.

I don't expect for In the Zone at this point but since BOMT is her 1st ever album, I hope there is a little something.

Posted

They should release Scary.

  • Like 1
Posted

Hold me closer woulda been even bigger if it had more promo

Posted

I just thought about it with all these streaming peaks and success from the memoir: My Only Wish (This Year) is about to stomp. We aren't ready for ha biggest year :jonny2:

Posted

is a really good breakdown of the book for anyone who is interested

This 

Posted
21 hours ago, LCTV said:

She's #98 (+1) in the world for Monthly Listeners on Spotify

#97(+1)  now. and yes I'll keep quoting myself on it :deadbanana4:

  • Haha 1
Posted
Just now, LCTV said:

#97(+1)  now. and yes I'll keep quoting myself on it :deadbanana4:

:party:

Posted

Coming back looking delicious
Yes I know they wanna kiss it
Now I hold em at attention
Cause new Britney's on a mission

TUN.gif

  • Like 1
Posted

Don’t know if this has been posted before but I’ve never seen it till now. 

 

 

  • Like 1
Posted

how many plays do getback need to get before we can create a thread for it gonig viral? 

Posted (edited)
6 hours ago, dirrtydiana said:

Don’t know if this has been posted before but I’ve never seen it till now. 

 

 

the rehersal video isnt new but the facts are very intersxting!

Edited by KeirGrey
  • Like 1
Posted

Seems like Overprotected will surpass Piece Of Me's views on youtube very soon

  • Like 1
Posted

I can't believe I didn't like "Don't Hang Up" when I was younger - where was the taste? The production and her vocals are perfect. It's so warm.

 

I read the book this week - I'm so impressed by it! (slightly spoilers ahead:)

 

Spoiler

I think my favourite thing about the book was how she evaluated how the media treated her in the past, such as after the 2000 VMAs, the Justin breakup, and how fit she was to be a parent. I'm glad she highlighted the media's huge display of misogyny and downright maliciousness. I also loved how she highlighted that she was seen as a sex symbol and nothing more to some people - she was denied being seen as smart or talented to some people for that reason.

I hope it's going to be integral to the recent reevaluation of Britney's career - where a lot of young people are discovering her discography and helping reframe her music to be seen as what it is - work by a talented woman expressing herself and not just a pretty person singing songs to become popular on the charts.

  • Like 1
Posted
On 10/27/2023 at 1:22 AM, I Melt Away said:

As a Mariah/Janet stan who are regularly doing anniversary releases, I hope there is something in line for the 25th anniversary of ...Baby One More Time album.

I don't expect for In the Zone at this point but since BOMT is her 1st ever album, I hope there is a little something.

I was just thinking this today: they really should do reissues. Releasing previously unreleased material is likely very complicated for Sony Music since Britney didn't write most of it herself, however, it shouldn't be too challenging for them to remaster the album (incl. b sides) and some remixes, along with looking after the visual side of things: i.e. make a blu ray with the videos and tour recordings such as Live & More or Dream Within A Dream.

 

Britney is really popular on Spotify at the moment and is well known by Gen Z, plus she says she doesn't plan to return to music any time soon, so they should strike while the iron is hot.

  • Like 2
Posted

If you can take it betta Gift Wrap gift wrap Gift wrap Giftwrap... lets get it viral for Christmas girlies

Posted
8 hours ago, holyground13 said:

I can't believe I didn't like "Don't Hang Up" when I was younger - where was the taste? The production and her vocals are perfect. It's so warm.

I

Funny story about this song. I was like 10 when I first listened to it and I hated it because I thought it was a sad song. Something about how she was singing always upset me and made me want to cry. So imagine my surprise when I got older and learned what it was about… 💀 

  • Like 1
Posted
2 hours ago, BraveNewSeth said:

Funny story about this song. I was like 10 when I first listened to it and I hated it because I thought it was a sad song. Something about how she was singing always upset me and made me want to cry. So imagine my surprise when I got older and learned what it was about… 💀 

:deadbanana2:It does kinda have a slight melancholy feel so I get what you mean! I also didn't like it as a kid, it didn't help that it was at the end of the In The Zone tracklist. That made it a nice song for me to rediscover in recent years. It gives me strong Janet Jackson vibes.

Posted

Baby, one more time: why Madonna, Britney Spears and Taylor Swift are all on a nostalgia trip

Madonna initially pitched her career-spanning Celebration tour as pop’s most infamous boundary-pusher finally surrendering to nostalgia. “I am excited to explore as many songs as possible in hopes to give my fans the show they have been waiting for,” she said in a statement that didn’t exactly abound with excitement. But, by the time she mounted the first dates in London this month, three months delayed by a bacterial infection that nearly killed her, the show had taken on a different hue: less what fans have been waiting for than what they almost lost.

Conceived prior to her illness, the Celebration tour was already pitched as a memorial, hymning a grimy 70s NYC downtown subsumed by gentrification, the generation of artists lost to Aids, Madonna’s late MTV-era icons Prince and Michael Jackson, and her own mother, who died of breast cancer when she was five years old. No matter how many dancers flanked Madonna on stage, the 65-year-old star cut an implicitly lonely figure – the last of a dying breed. But knowing how precariously she stood at the centre of this spectacle, re-enacting her past almost as if it were a mythological trial, heightened the stakes. What did she have to prove? You could divide the show into two parts: how history shaped Madonna, from the Paradise Garage to photographer Peter Hujar, then how Madonna shaped history, becoming the forcefield into which others were drawn. You could divide it into Madonna the daughter and Madonna the mother – to her literal children, four of whom shared the stage with her, to the LGBTQ+ community (as mother) and to the genre of MTV-era spectacle that set the standard for modern pop stardom.

Two of Madonna’s pop daughters are also currently engaged in the business of looking back: Britney Spears, 41, with her long-awaited memoir, The Woman in Me, and Taylor Swift, 33 – who started out in a lineage of Nashville songwriters but grabbed on to Madonna’s comet tail when she became a fully fledged pop star a decade ago – with her Eras tour and album rerecording project. They are arguably America’s three most archetypal, default pop stars – blond, white, athletic; sonically, aesthetically and morally malleable; vectors of desire and projection – and represent the evolution of the figure over the last four decades, each reverberating with their predecessor’s influence. These are era-defining artists, avatars for the story that culture tells about itself at any particular time. What does it say that three generations of pop’s primary archetype – whose currency is, to some degree, being current – are looking back to redress those definitions?

If Madonna incarnated true power, sexuality and creativity, label executives took the superficial impression of those qualities to create the image of Spears – but crucially denied her the agency to control them herself and overpower the machine behind her. (Spears realises the gulf between them when Madonna stops the shoot for the video for their 2003 collaboration Me Against the Music to get her outfit mended: “I didn’t even know taking so much time for myself was an option … she demanded power and so she got power.”) Swift, born, lest we forget, in 1989, grew up in the disgusting tabloid culture that shamed Spears. The career-obsessed teen doubtless learned from her as a cautionary tale, just as she took her formative apolitical stance from the (Dixie) Chicks’s shunning after they criticised George W Bush during the Iraq war. She never let her sexuality become a focal point that could be used to undermine her (although she would still be belittled for her dating life) and understood that writing her own material gave her ownership over her artistic identity and the direct emotional connection it created with fans.

For all three, seizing the narrative wrests control back from patriarchal forces that have sought to distort it. At 65, Madonna gets to assert her primacy and sexuality, defying ageist and misogynist critics and an industry that bakes in obsolescence to inhibit individual stars’ power and ensure a fresh stream of product. (The Celebration tour also generously foregrounds the queer community that shaped her: doing so at a time when LGBTQ+ rights are under threat makes unmistakable the debt owed to queer culture.) Spears, most urgently, is finally claiming ownership over a life bound by the prurient yet squeamish contradictions of capitalist American pop culture and the trap it laid for her father to confine her in a conservatorship for 13 years. Swift, in a business sense, is also taking back her voice after the master recordings of her first six albums were sold to a male music executive without her being offered the same opportunity to buy them. To devalue the investment, she is rerecording note-for-note copies of the originals to give her control over their use. The accompanying Eras tour, shifting between 17 years of changing musical and aesthetic styles and making stadiums feel intimate, is clear that Swift is the lone axis on which all this pivots.

All three are telling my story, my way – but they’re able to do so now because of shifting social and market forces that primed culture to relitigate those stories. #MeToo opened the floodgates for famous women to re-establish limited public personas shaped by entertainment executives and the media – a system in which all three thrived commercially, if not spiritually – and in doing so made confronting past traumas into a lucrative commodity. Spears’s experience reveals the best and worst of that state of affairs: the New York Times’s 2021 documentary about her conservatorship, Framing Britney Spears, genuinely moved the needle on public perceptions of the embattled star and paved the way for her to be freed from the prohibitive arrangement later that year. But in its wake followed several tawdry, superficial films cashing in on the tragedy. (She seemed to care for neither: “There was so much guessing about what I must have thought or felt,” Spears writes of these productions.) Unpicking the misogynist 2000s tabloid culture that shamed Spears contributed to a new level of media literacy that allowed younger generations to reject the narratives they inherited: hag Madonna, ****-up Britney, **** Taylor. Those sympathies allowed Swift to present her rerecording project – and fans’ support of it – as a feminist, moral act, as well as a conditional education in music rights.

They have also inarguably been able to achieve these shifts in perception because, as white celebrities, they benefit from far greater re-interpretive leeway than their Black peers, most of whom remain focused on innovation rather than retrospectives: Beyoncé’s contemporaneous Renaissance albumand tour only looked back to give Black, queer culture its due, part of her ongoing project to re-establish Black cultural legacies.

1616.jpg?width=880&dpr=2&s=none

A cynic might add that Swift’s rerecording project came about at an apposite time. In the streaming era – which, improbable as it seems to remember now, she eschewed from 2014 to 2017 – new albums seldom have the same impact or payoff as back catalogue (although Swift is one of the only pop stars who skirts that rule), and the project introduces her back catalogue to an ever-rejuvenating fanbase. Any legitimate opportunity to introduce an ever-rejuvenating fanbase to your back catalogue isn’t one any smart artist would pass up. (Last week, Bloomberg reported that Swift is now a billionaire.) In order to introduce her own songs to a new generation, Madonna opted to tour rather than sell her catalogue to an investment fund, as many artists of her generation have done (“ownership is everything, isn’t it?” she told Variety), although her plans to tell her story in a biopic were scuppered. Spears doesn’t seem so actively engaged in regenerating her catalogue: she concludes her memoir by writing that her focus isn’t currently on her music career, and she gained a relatively modest 662k global Spotify listeners in the week of publication. (However her label, RCA, certainly appear to have capitalised on the interest by reissuing nine of her albums on coloured vinyl this year as well as a new digital remix EP of songs from the soundtrack to Crossroads, which was briefly back in cinemas last week.)

Article Link

Posted
20 hours ago, Avenger said:

Baby, one more time: why Madonna, Britney Spears and Taylor Swift are all on a nostalgia trip

Madonna initially pitched her career-spanning Celebration tour as pop’s most infamous boundary-pusher finally surrendering to nostalgia. “I am excited to explore as many songs as possible in hopes to give my fans the show they have been waiting for,” she said in a statement that didn’t exactly abound with excitement. But, by the time she mounted the first dates in London this month, three months delayed by a bacterial infection that nearly killed her, the show had taken on a different hue: less what fans have been waiting for than what they almost lost.

Conceived prior to her illness, the Celebration tour was already pitched as a memorial, hymning a grimy 70s NYC downtown subsumed by gentrification, the generation of artists lost to Aids, Madonna’s late MTV-era icons Prince and Michael Jackson, and her own mother, who died of breast cancer when she was five years old. No matter how many dancers flanked Madonna on stage, the 65-year-old star cut an implicitly lonely figure – the last of a dying breed. But knowing how precariously she stood at the centre of this spectacle, re-enacting her past almost as if it were a mythological trial, heightened the stakes. What did she have to prove? You could divide the show into two parts: how history shaped Madonna, from the Paradise Garage to photographer Peter Hujar, then how Madonna shaped history, becoming the forcefield into which others were drawn. You could divide it into Madonna the daughter and Madonna the mother – to her literal children, four of whom shared the stage with her, to the LGBTQ+ community (as mother) and to the genre of MTV-era spectacle that set the standard for modern pop stardom.

Two of Madonna’s pop daughters are also currently engaged in the business of looking back: Britney Spears, 41, with her long-awaited memoir, The Woman in Me, and Taylor Swift, 33 – who started out in a lineage of Nashville songwriters but grabbed on to Madonna’s comet tail when she became a fully fledged pop star a decade ago – with her Eras tour and album rerecording project. They are arguably America’s three most archetypal, default pop stars – blond, white, athletic; sonically, aesthetically and morally malleable; vectors of desire and projection – and represent the evolution of the figure over the last four decades, each reverberating with their predecessor’s influence. These are era-defining artists, avatars for the story that culture tells about itself at any particular time. What does it say that three generations of pop’s primary archetype – whose currency is, to some degree, being current – are looking back to redress those definitions?

If Madonna incarnated true power, sexuality and creativity, label executives took the superficial impression of those qualities to create the image of Spears – but crucially denied her the agency to control them herself and overpower the machine behind her. (Spears realises the gulf between them when Madonna stops the shoot for the video for their 2003 collaboration Me Against the Music to get her outfit mended: “I didn’t even know taking so much time for myself was an option … she demanded power and so she got power.”) Swift, born, lest we forget, in 1989, grew up in the disgusting tabloid culture that shamed Spears. The career-obsessed teen doubtless learned from her as a cautionary tale, just as she took her formative apolitical stance from the (Dixie) Chicks’s shunning after they criticised George W Bush during the Iraq war. She never let her sexuality become a focal point that could be used to undermine her (although she would still be belittled for her dating life) and understood that writing her own material gave her ownership over her artistic identity and the direct emotional connection it created with fans.

For all three, seizing the narrative wrests control back from patriarchal forces that have sought to distort it. At 65, Madonna gets to assert her primacy and sexuality, defying ageist and misogynist critics and an industry that bakes in obsolescence to inhibit individual stars’ power and ensure a fresh stream of product. (The Celebration tour also generously foregrounds the queer community that shaped her: doing so at a time when LGBTQ+ rights are under threat makes unmistakable the debt owed to queer culture.) Spears, most urgently, is finally claiming ownership over a life bound by the prurient yet squeamish contradictions of capitalist American pop culture and the trap it laid for her father to confine her in a conservatorship for 13 years. Swift, in a business sense, is also taking back her voice after the master recordings of her first six albums were sold to a male music executive without her being offered the same opportunity to buy them. To devalue the investment, she is rerecording note-for-note copies of the originals to give her control over their use. The accompanying Eras tour, shifting between 17 years of changing musical and aesthetic styles and making stadiums feel intimate, is clear that Swift is the lone axis on which all this pivots.

All three are telling my story, my way – but they’re able to do so now because of shifting social and market forces that primed culture to relitigate those stories. #MeToo opened the floodgates for famous women to re-establish limited public personas shaped by entertainment executives and the media – a system in which all three thrived commercially, if not spiritually – and in doing so made confronting past traumas into a lucrative commodity. Spears’s experience reveals the best and worst of that state of affairs: the New York Times’s 2021 documentary about her conservatorship, Framing Britney Spears, genuinely moved the needle on public perceptions of the embattled star and paved the way for her to be freed from the prohibitive arrangement later that year. But in its wake followed several tawdry, superficial films cashing in on the tragedy. (She seemed to care for neither: “There was so much guessing about what I must have thought or felt,” Spears writes of these productions.) Unpicking the misogynist 2000s tabloid culture that shamed Spears contributed to a new level of media literacy that allowed younger generations to reject the narratives they inherited: hag Madonna, ****-up Britney, **** Taylor. Those sympathies allowed Swift to present her rerecording project – and fans’ support of it – as a feminist, moral act, as well as a conditional education in music rights.

They have also inarguably been able to achieve these shifts in perception because, as white celebrities, they benefit from far greater re-interpretive leeway than their Black peers, most of whom remain focused on innovation rather than retrospectives: Beyoncé’s contemporaneous Renaissance albumand tour only looked back to give Black, queer culture its due, part of her ongoing project to re-establish Black cultural legacies.

1616.jpg?width=880&dpr=2&s=none

A cynic might add that Swift’s rerecording project came about at an apposite time. In the streaming era – which, improbable as it seems to remember now, she eschewed from 2014 to 2017 – new albums seldom have the same impact or payoff as back catalogue (although Swift is one of the only pop stars who skirts that rule), and the project introduces her back catalogue to an ever-rejuvenating fanbase. Any legitimate opportunity to introduce an ever-rejuvenating fanbase to your back catalogue isn’t one any smart artist would pass up. (Last week, Bloomberg reported that Swift is now a billionaire.) In order to introduce her own songs to a new generation, Madonna opted to tour rather than sell her catalogue to an investment fund, as many artists of her generation have done (“ownership is everything, isn’t it?” she told Variety), although her plans to tell her story in a biopic were scuppered. Spears doesn’t seem so actively engaged in regenerating her catalogue: she concludes her memoir by writing that her focus isn’t currently on her music career, and she gained a relatively modest 662k global Spotify listeners in the week of publication. (However her label, RCA, certainly appear to have capitalised on the interest by reissuing nine of her albums on coloured vinyl this year as well as a new digital remix EP of songs from the soundtrack to Crossroads, which was briefly back in cinemas last week.)

Article Link

interesting. Not sure about Taylor as she is still in prime but I do notice that each of these blondes have been criticized for their limited vocals, have been slt shamed despite their peers doing worse and while vocals were limited weren't the weakest of their group but got more flck than the weakest (Paula Abdul, Jennifer Lopez, Selena Gomez).

It came with the territory if you are the top selling female artists of her peer group which each lady is then you get the benefits and the backlash more than others.

 

I wonder who is going to take over Taylor's spot in the 2030s

Madonna held the torch in the 80s/90s full pass off to Britney in the 00s

Britney held the torch in the 90s/00s full pass off to Taylor in the 10s

Taylor held the touch in the 00s/10s and seemingly the 20s and should pass it off to someone...maybe Billie or a new sensation later this decade.

Posted

Just a reminder that The New York Times Bestseller List is not an actual source and they just make up their charts.

 

We need to see Britney charting on BookScan (Nielsen SoundScan for books). You can find their charts here:

https://www.publishersweekly.com/pw/nielsen/top100.html
 

It takes about 100k to be #1 and 50k to be #2.

Posted
14 minutes ago, Eternium said:

Just a reminder that The New York Times Bestseller List is not an actual source and they just make up their charts.

 

We need to see Britney charting on BookScan (Nielsen SoundScan for books). You can find their charts here:

https://www.publishersweekly.com/pw/nielsen/top100.html
 

It takes about 100k to be #1 and 50k to be #2.

Why is Jada's book listed, but Britney's isn't? Were they not released the same day? :huh:

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