swissman

This doesn't really prove anything. The CCWT sold 1.6 million tickets. Assuming for every ticket there was one Spotify stream yesterday, that would only make up 13.4% of her total streams. So where is the rest? If everyone who attended streamed six songs of her's yesterday, that's still 80% of yesterday's total daily streams. What I've shared is not a scientific piece of data. It doesn't account for repeat ticket-holders or people who stream more than six songs, or any number of other possibilities, but I think it shows that we can't look at either number and say for a fact that people would rather watch her perform than to listen to her music via Spotify. Without a doubt, there are people who stream her who did not attend her last tour (like myself) and I, a huge fan, didn't listen to her yesterday. So does that mean I'd neither rather watch her perform nor stream her music? Or just that I did not.

actually she debuted as a soloist in 1999.

Beyoncé having the budget to reshoot something and not wanting to release visuals because she didn't get what she thinks they're worth are not the same.

I agree with that, but mostly when its discussed its under the idea of a "pity" or "political" win when there is clearly more than that involved including the diversification the Grammys were boasting about at every award that year. Because although there was less to the story, BEYONCÉ's loss was definitely leading to Lemonade's win but that didn't happen. There needed to be more than just "it's her time" and that includes the right nominees she's competing with too.

I also think it's weird for people to say what from Beyoncé's discography should have won instead of COWBOY CARTER. She was not in competition with herself, but the other nominees, and it's not like we don't have recent examples of people winning AOTY multiple times.

I am not really convinced that it was a "political win." I think when discussing its win people often forget that AOTY is a numbers game. And in 2025, five of the eight nominees were pretty much competing against each other, splitting their votes while the remaining three nominees were: Jacob Collier, Andre 3000 and Beyoncé. The five mentioned (Taylor, Charli, Sabrina, Billie, Chappell) were either existing pop Grammy darlings or had huge hit years in pop with almost equal points made for any of them winning. So as much as people can say "it was a pity win" or "it was political" what it really comes down to is that COWBOY CARTER needed only 1 vote more than any other nominee, most of which were similar on paper without any being a clear standout, making it harder win for any of them to get enough votes to beat an album that was unique in the category as well as a front-runner among the nominees.

I duno how aged it's supposed to be at just 4 years from its release, but sure, it still holds up. Perhaps it being such a referential album is why people are finding it to not sound like 2022, though, and the fact that it's highly considered and layered. I do think that CUFF IT, if anything, is the one that will age the poorest, given that it was the hit that people will associate with the moment and that it, in my opinion, is the one song that leaned into current trends, coming in after the Say So disco wave of the early 2020s. I mean there is a reason it was the hit, and that's because it was just a touch more generic than the rest.

as for any hot 100 debuts, it would entirely rely on her actually releasing the new songs to streaming. I doubt the originals who never appeared will get a debut unless she does something special to promote them.

Would it even count as a ninth #1 if the original went #1 already? Like when she re-released it in 2007 and it jumped to #6, was that her third top ten solo album at the time?

what does bingo music for clowns even mean lol? also who is this?

I think this is quite unfair to Britney. She is one of the greatest icons of all time, and to people who don't know the difference between legends and icons, she's a legend too. As well, Britney's success went beyond the TRL era. The last TRL episode was in 2008, and she was still enjoying pretty big success into the early 2010s.

But My Only Wish (This Year) was released as a promotional single in the 2020s. I'm not sure how you can say that it's an issue that the songs listed for Beyoncé are from the 2020s when the aforementioned song was put out as a single during that same timeperiod and with alternative mixes, and it's a holiday song. BUT LET'S LOOK AT PRE-STREAMING! Here are Britney's Top Five Non-Singles from before 2014 (when streaming started to take off): Get Back: 47m Perfume: 37m Get Naked: 37m SMS (Bangerz): 34m Breathe on Me: 28m Total: 183m Here are Beyoncé's Top Five Non-Singles from before 2014 (when streaming started to take off): Haunted: 285m Upgrade U: 208m Dance For You: 189m Dangerously in Love: 180m I Was Here: 111m Total: 973m This means that Beyoncé's top five pre-streaming-era non-singles were consumed over 5x more than Britney's. Now, I'm not one to think that streaming numbers = worth or impact or importance or artistry or whatever. But since this thread and this conversation are based on something like that, here they are!

I personally ADORE this song, the ending especially. But I would imagine maybe she removed it because it was only added after Still In Love (Kissing You) was removed.

I did not say I would not mention it. I said I would go from being annoyed that people are annoyed, to being tickled that people are annoyed.

I have decided to take my own advice ("do you want to be annoyed or do you want to not care?") and instead of letting the petty, illogical, ignorant and entitled critiques about the price of a literal deluxe limited edition 4-vinyl 60-page booklet-having re-release bother me, I will simply be laughing at their ridiculousness.