swissman

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.

I forgot All Night was a single but let's not "sneak" it in, let's revise: ALIEN SUPERSTAR: 305m Haunted: 285m HEATED: 216m ENERGY: 216m Upgrade U: 208m AND STILL, all of Britney's Top Five non-singles have less streams than Beyoncé's fifth most-streamed non-single. And with the holiday song in Britney's top-five non-singles, Beyoncé's top five still is double Britney's. If the point is that non-singles being streamed in big amounts shows impact/importance/interest/whatever, then we have something closer to a real answer, because we should not just be looking at a single song.

what you are really arguing is that Beyoncé has the better discography and actual demand for music, seeing as her total streams are over 2x that of Britney's.

If any of them: Sang both the intro and outro alone Sang on all the choruses Appeared as a major part of the music video then yes, the could be officially credited, quite fairly. Was I unclear? I was also not talking about Pink+White at all, so not sure why you're telling that to me. Maybe you are replying to the wrong person.

But ... the song is factually featuring Beyoncé, as in Beyoncé's voice is featured on the song, just not in the background but in the forefront. As specified there are three sections of the song where it's totally Beyoncé's voice. Credits don't need to reach a threshold for them to be there. Just look at how many features are DJs, who have no vocals on the song whatsoever and are essentially just underlining the fact that they produced the song. Beyoncé herself has a song "feat. Madonna" where it's just a Madonna sample, which shows that the artists involved can come to whatever agreement they want. A duet by definition is not trading off solo sections, it's just a piece written for two musicians. And in that definition, perhaps it's not a traditional duet, but something in between. Either way, she's on the song far more than you make it out to be. But as for the question of why she doesn't have credits, though neither party has said for certain, I think denying that it was likely Beyoncé who didn't want the credit is a bit of a stretch considering Coldplay clearly invited her to 1) be on the track 2) be in the video and 3) perform with them at their Super Bowl. But they stop at a feature on a song that she's factually on? It's far more likely that Beyoncé, who would very soon go on to release her own lead single for free and not release it to iTunes or radio or streaming was simply blocking her own chart potential at that moment. One one side we have Coldplay involving her as much as they possibly could; on the other side we have Beyoncé blocking her success. Where does this lack of credit seem to fit here?

I've bolded all the parts she sings lead for and underlined shared parts (ie. duetting), and in some of the duetting which you have called "background vocals," it's actually Chris whose voice is more in the background. She sings the intro and outro and is duetting on every chorus. How is this not a feature, especially when there have been big name features with lesser involvement before? There is no one way to be or not be a featured artist. It all comes down to what they agree to. And if you think Coldplay was going to refuse Beyoncé a credit, if she wanted it, is crazy. If thats the case, that would mean they had no problem letting her take a huge moment in their Super Bowl performance but did not allow her name to be attached to their single, when that would have been a huge selling point for it. And what does something already being composed have to do with it? Are you just adding things in to make your list seem stronger? Also she is in the video for longer than what would constitute a "cameo." Me, drink from me, drink from me (oh I-) Shoot across the symphony (oh I-, oh I-) That we shoot across the sky Drink from me, drink from me (I-, oh I-, oh I-) That we shoot across the (I'm feeling drunk and high) Symphony (So high, so high) That we shoot across the s- (drink from) Oh, angel sent from up above You know you make my world light up When I was down, when I was hurt You came to lift me up Life is a drink and love's a drug Oh, now I think I must be miles up When I was a river, dried up You came to rain a flood You said, "Drink from me, drink from me" When I was so thirsty Pour on a symphony Now I just can't get enough Put your wings on me, wings on me When I was so heavy Pour on a symphony When I'm low, low, low, low I-, oh I-, oh I- Got me feeling drunk and high So high (so high), so high (so high) Oh I-, oh I-, oh I- Now I'm feeling drunk and high So high (so high), so high (so high) (Woo) (Ooh) Oh, angel sent from up above I feel you coursing through my blood Life is a drink, your love's about To make the stars come out Put your wings on me, wings on me When I was so heavy Pour on a symphony When I'm low, low, low, low I-, oh I-, oh I- Got me feeling drunk and high So high, so high (so high) Oh I-, oh I-, oh I- Now I'm feeling drunk and high So high (so high), so high (so high) I-, oh I-, oh I- La, la, la, la, la, la, la So high, so high I-, oh I-, oh I- Now I'm feeling drunk and high So high (so high), so high (so high) That we shoot across the sky That we shoot across the That we shoot across the sky That we shoot across the (that we shoot, yeah) That we shoot across the sky That we shoot across the That we shoot across the sky That we shoot across the

AH YES! Linda Martell, the extremely basic country music reference everyone knows about. AND WAIT is that the highly notable and obvious singer Reyna Roberts on BLACKBIIRD? And alongside Tanner Adell, Brittney Spencer, and Tiera Kennedy? She's just using all the obvious country hitmakers with no creativity or point of view whatsoever. And Shaboozey on two tracks? I know she saw that he had 18 singles that never charted and wanted to work with him. How uncreative of her. BUT WAIT! WHAT? Willy Jones twice too? And a reference to Black yodeller Charles Anderson? She must have thought we'd be impressed. She must think she's being obscure but everyone knows him. And don't even get me started on the Maybelle Carter reference. Does she think none of us have listened to country music before? C'mon. Why couldn't she think of some more obscure country references? Why did it have to be all the BIG names?!

Because Beyoncé's top five non-singles (and not including remixes to singles) streams seem to be: ALIEN SUPERSTAR: 305m Haunted: 285m All Night: 270km HEATED: 216m ENERGY: 216m Britney's top five non-singles seem to be: Get Back: 47m Perfume: 37m Get Naked: 37m SMS (Bangerz): 34m Breathe on Me: 28m Which means in total Britney's top five album cuts (not including her holiday song) don't even amount to Beyoncé's fifth most streamed album track. If we do add in her holiday song, it's still a difference of 610m total and 1.292b (more than double). [I could be wrong on this list though]

comparing a "non-single Britney track" that is also a holiday song is ... silly. what's her highest album track that doesn't get a boost of streams every single holiday season?

It's interesting how this argument amounts to "Beyoncé is a fake, she pretended she always listened to country music" when the trilogy is in fact, and always has been, about diving into Black genres she had not previously fully explored, not that this is her true self. So anyone thinking this proves anything against COWBOY CARTER is either ignorant or illogical, you pick.

and is this suppose to be some major hilarious read? granted, it achieves the sassiness it desires, but the entire concept of this trilogy is that Beyoncé is making music in genres that are not her signature, exploring outside the bounds of the public's expectations but also her familiarity. "Cosplay" is simply a less flattering-sounding synonym for what she knows she'd doing, what we know she's doing, and what she's only ever said she's doing. there never was an interview where Beyoncé said "I made this record because I listen to country music, always have, people don't know that and I wanted them to know this true side of me." She just said "I am country" [identity not musical genre] because... she is.

Beyoncé hater: Beyoncé takes credit for other people's songwriting Also Beyoncé hater: Beyoncé has too many credited songwriters on her album

What do songwriters even have to do with this thread?