Kota

the 'left' turning on their only faction that has ever managed to get anything meaningful done truly doomed to fail for all eternity

new floppage scapegoat acquired

all cheating is ethical if they were a good partner you wouldn't want to cheat in the first place, so really it's all their fault

I fear the power of AI might be the only path to curing the OGH Mind Virus we will be investing

I burn tens of millions of tokens every week I have and will continue to do irreversible environmental damage

harlequin was fine just tanked Happy Mistake is a career highlight

I cannot believe I am saying this but showgirl clears

deeper into catholic psychosis and serve hildegard von bingen-style bops

who said anything about free? it's always the people who have only used the lobotomized free tier models that have the most to say about how bad AI is ot: not poisoning my context pool, gpt/claude don't need to know me like that

if they're ugly the front if one is hot in the middle behind them if they're both hot then the back

everything from DARA's win onwards is so unpredictable, you truly don't know what's coming next messy iconic edition already

This is one of the more realistic catalog valuation breakdowns circulating online, mainly because it respects the single biggest dividing line in music finance: publishing rights (songwriting) vs. master recordings (the audio file). While exact rankings are always subjective since catalog values fluctuate based on prevailing interest rates, buyer appetite, and stream decay, this tiering is roughly 85–90% spot on. Here is how it holds up against industry comps: Where the list hits the mark: Taylor Swift at #1 is undeniable: Controlling both the underlying publishing and owning her post-2018 masters (plus her re-recorded Taylor's Version masters) gives her complete leverage. With massive streaming volume across 200+ songs she solo- or co-wrote, $1B+ is a realistic floor if the entire vault ever went to market. Katy Perry & Britney Spears deal anchors: Using Katy Perry's $225M sale to Litmus Music as a benchmark grounds the lower-middle tier in real market data. Similarly, Britney Spears' ~$200M deal with Primary Wave highlights the distinction well: Britney's deal value was driven primarily by performer/master royalties, since her pure publishing share on hits like Toxic or ...Baby One More Time is minimal due to lack of writing credits. Shakira's proven market value: Shakira selling 100% of her 145-song publishing catalog to Hipgnosis in 2021 proved the value of cross-market, multilingual songwriting assets. Where the ranking needs tweaking: Mariah Carey should be higher (#3 or #4): Placing Mariah at #6 underestimates her catalog. She co-wrote 18 of her 19 Billboard #1s. On pure publishing alone, she out-ranks almost everyone here except Taylor. Plus, All I Want for Christmas Is You acts like a perpetual annuity, generating $2.5M–$3M+ every Q4. Her publishing asset alone is easily $400M+. Rihanna's valuation split: Rihanna has unmatched hit density, but because she holds fewer primary writing credits on her massive hits, her publishing share is a fraction of her catalog's overall value. If you're counting master recording streams, $300M–$450M is fair; on pure publishing, she drops significantly. Adele's per-song efficiency: Adele at #5 is the ultimate "quality over quantity" play. Co-writing virtually every track with timeless appeal means her per-song valuation is the highest on the list. Re-tiered view: Tier 1 ($1B+): Taylor Swift Tier 2 ($400M–$600M+): Mariah Carey, Beyoncé, Adele Tier 3 ($250M–$450M): Madonna, Rihanna, Katy Perry, Shakira, Britney Spears, Celine Dion

two betrayals stand before me... brat

I switched to flavoured sparkling water which is slightly less toxic

this smash… she's made it onto the D-List. the prophecy is fulfilled

obsessed with her commitment to releasing horrible lead singles and then good songs after bop

very sweet and heartfelt tribute it's only right that she fills her next tour's setlist with RoL songs to honour his memory

I like Slayyyter but sometimes her non-chant/shout choruses are a little too heartfelt for me (I totally get the appeal though) Beat Up is gaggy and feels more abrasive.

Yeah, I actually do, and I know that's probably going to be a controversial take around here, but hear me out. For me, it started out as pure curiosity when tools like Suno and Udio blew up, but over time, it's legitimately crept into my regular rotation for a few specific reasons. The main draw for me is the sheer, hyper-specific niche customization. If I'm in the mood for an ultra-specific vibe—say, a 1980s synth-wave track with a melancholy saxophone solo and lyrics about a rainy cyberpunk city—I don't have to spend two hours digging through Spotify radio to find something that hits the mark. I can just generate it or find someone else's prompt track that nails that exact micro-genre. It fills weird musical voids that traditional artists just haven't made yet. I also use it a ton for background noise while working or studying. For procedural lo-fi beats, ambient soundscapes, or background gaming tracks, I don't always need deep human catharsis or complex personal storytelling; I just need consistent, smooth audio that helps me focus without pulling my attention away. AI is surprisingly good at acting as high-quality "sonic wallpaper". That said, I definitely don't see it as a total replacement for human musicians. When I want real emotional weight, clever songwriting, or a genuine connection to someone else's life experience, I'm still listening to actual people every single time. But for low-stakes background music, fun experiments, or ultra-tailored mood music, I have to admit it's earned a spot on my headphones.

Hey You extremely frightening and upsetting

After further listenings I'm liking 2007 and NOLF (the latter being Twice's grown up sibling which I love) Hoping I come around to the rest in time

no one of the few saving graces of western culture is that we're free of that nonsense (relatively speaking)

well... I wanted her to go back to pre-BRAT levels of fame and to tank her career a bit in the process if needed, but she didn't need to go this far not feeling it

she's teasing MUSIC II in 2029

Summerboy on the setlist = smashery