MatiRod

"3" is her last hit that feels like classic Britney tbh. It was bigger than HIAM too. But maybe lyrically it's a bit too gimmicky and not inventive enough sonically for a lead single.

Taylor kind of single-handedly switched the dominant mode of female artist from provocateur performer (Madonna, Britney, Gaga) to confessional, emotional singer-songwriter (Billie, Olivia, Gracie, etc). You do have hybrids of the modes like Chappell. But when the industry wants to sign a new female artist now they ask does she write her own songs? Can she appeal to people with just a guitar? All the new signings are in that vein.

I don't think you can get to truly enormous sales if you have no artistic merit whatsoever. Everyone in the Top 100 selling artists has at least one perfect song in their catalogue. Also I know this is a shady Taylor thread but the idea that the person who wrote the entirety of Speak Now by herself has "no real talent" is absolutely ludicrous. In fact you are much more likely to find an insanely incredible vocalist in the wild unsigned without a career than you are someone who can write a Speak Now by themselves.

Tate's (and Tyla's) gay stylists are dressing her up like Britney sometimes with literally the same exact outfit and she is none the wiser ddddd This is what happens when you're the avatar for a mood board assembled by committee instead of the auteur who decides everything, like Rosalia for example whom you will never catch not knowing a blatant influence she is portraying

Should be at least an 8.3, Bitchfork when I catch you

A lot of songs circa 2016-2018 were Camila rejects, she was kind of new Rihanna in that everyone was writing for her for a quick second, it wouldn't surprise me if this was a repurposed Camila reject that Lara rewrote

She is a chosen one, protected from bitter spirits

Random Celeb Drama Hot 100: Kelly Clarkson v.s Art of Play: Dawn of Molly (=) Stephanie Mills vs. Lady Gaga (NEW!) Selma Blair vs. Airline Staff, Airport Security (-1)

I keep coming back to this album more and more in recent weeks. There's a sense of comfort in it that her best work has and that I haven't really felt in an album of hers since the original Confessions. It's so rich and dense and I feel like I hear new threads of meaning and sound every time I listen through.

I'm so sorry but that part was like a skit, the reporter saying "oh! well you look great!" "thank you" adfasdfsa

If Kelly posts an apology she better promo this bop:

It's impossible to have the kind of career she's had while being dumb. Her dad is also a CEO or something. She's probably very very smart. And she's smart enough to know giving a non-answer is probably better for her image than actually saying "I just like his music a lot and I really wanted a US #1 and that whole N-Word thing was like six years ago and it's not an endorsement of that and everyone needs to chill and move on", which is probably how she actually feels. But it's still a cop out and it just reminds one how pop is so corporate and careful these days, gone are the idiosyncratic messy stars who spoke their mind at all costs even when they were polarizing.

They're a kii

It meant relatively little in the 90s as well with no physical single to boost album sales and 49 cent oferta at the cash register to boost a song to #1 for a couple weeks (*cough* Mariah *cough*). You would not realistically get a list of the most iconic, famous songs of the time from the Hot 100.

Well no, that's not how journalism works. The publicist can request something but once they're in the room they're going to ask it anyway, and if she just stares blankly or the publicist intervenes the journalist will write that's what happened and it'll look even worse. Remember when Tyla did that on the Breakfast Club? The only time that sort of can happen is for someone like Beyonce in a puff piece Vogue article or something because higher ups demand it (alledgedly) but she's not doing interviews with real journalists (no shade) for a reason. And Tate is not important enough to warrant that level of editorial imposition and meddling.

The extremely subtle shade

Word salad nothing. What's the point of even being an artist when you can't defend your choices coherently

The album is for people with taste, not basics!

Honestly it's believable she jumped that much, the Eras Tour continued for 8 months after PTSD and only got bigger, and she also had the engagement media frenzy. Her lyric videos in theatres opened to $30M+, which I think by itself shows the absurd level of hype and mass appeal she had when Showgirl came out, thw Swifties weren't mass buying movie tickets. Undoubtedly the variants added a lot but she still would've done multi millions. But the album was poorly received so it deflated fast. Not that different from the third Backstreet Boys album which did their best ever 1.6M first week but ended well below Milennium.

It would be a kii if they had beef, Stella is the only person in music richer than Taylor lol

I agree Circus is great and has some of her best songs ever, especially if you add the bonus tracks. It came out in that weird transitional period between R&B dominating and pure euro dance-pop taking over so a lot of it, like a lot of 2008 music, sounds very of its time, but I think it has a very weird, creative bent to it, the 'circus' theme really made sense. A lot of wacky production choices and weird sound effects, "Mannequin" is a really bizarre low key avant garde song. The title track has some really interesting, unique production flourishes, nothing Luke and Benny Blanco produced ever sounded like it again. It may have been cobbled together very quickly between different A&Rs and writing sessions but there were a bunch of lightning in a bottle moments.

Yes, all the big streaming services. And maybe they could have a code if you buy the vinyl too. Just a way to ensure the actual listeners are getting tickets first.

They should just issue tickets to top listeners on Spotify first. Role Model already did that.