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Post by thatpolishboy on Apr 22, 2024 7:35:56 GMT -5
You're all sounding like clowns while she maintains good streams and solid radio back-up.
Go touch grass or something.
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Post by livelikedying111 on Apr 22, 2024 7:39:52 GMT -5
You're all sounding like clowns while she maintains good streams and solid radio back-up. Go touch grass or something. People were saying about Katy Perry that she could release a song of her burping and still get it to #1, we all know where she's at now. It's okay to be a fan, but not a fanatic. |
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85la
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Post by 85la on Apr 22, 2024 7:53:24 GMT -5
ok, even as a diehard Swiftard, i MUST vent a bit on how STUPID she is for serving this slow ballad crap when the WHOLE WORLD is looking forward for her next project. TTPD is the stuff you'd surprise drop during a hiatus or something. totally not what you'd serve at the HEIGHT of your commercial peak. the opportunity she has right now is literally once in a generation, and shes squandering it by doing this homemade project with jack antonoff in his basement. what a waste. Will the TTPD projct be hugely successful still? yes. but not nearly as successful as it wouldve been had she served something faster and more basic. just the average poppy soulless bop. not sharing her own personal nightmares written into word salads. I'm willing to bet she's not getting these accolades now because of this terrible move: • 10 week+ #1 on the hot100. dont see how its possible with how slow fortnight is. it's not very radio friendly either so good luck charting high for long. what a shame, it was projected to debut at 75M freakin streams initially. • IFPI #1 single. fortnight was the most streamed song EVER worldwide in a single day, as reported by chartmaster. well i doubt it'll go the distance and finish at #1 by the end of the year given how slow it is. • 30+ country #1 single. same thing as above. though she could get into the 20s range given the strong first day numbers. • 30+ countries #1 album. this could still happen i guess given even midnights finished at 28 or 29 and it is already the record. but TTPD did start out #1 on 45 countries on spotify and dropped to 41 already, so it'll definitely miss the 40-countries mark. • 10-15 weeks+ #1 on the BB200. with how much the stream is dropping in the states, i bet it'll fail to beat her personal best of 11 weeks at the top of the albums chart. she'll still have the BB200 YE #1, IFPI #1 album, album with the biggest global debut week numbers beating 25 (most likely), Hot 100 #1 artist, IFPI #1 artist, Billboard #1 artist, climbs up to ATOD #1 artist and such, but the other big ones ive mentioned above? those are basically free for the taking at her current popularity, and she's wasting it all.
"Served something more basic, just the average poppy soulless bop"? This is really the direction you expected her to take?
And you're also admitting she'll already make the more important benchmarks you mention at the end, and that she'll come close to some of the less important ones you mentioned first (such as #1 single/album in most countries), and that she could easily do without, so how is she exactly "stupid" and "squandering everything"?
I'll admit the double album as a whole is too long for me and many of the songs a bit too slow and same-y, but there is definitely some variety and mix of tempos, so your assessment is a bit hyperbolic.
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musiclife
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Post by musiclife on Apr 22, 2024 8:22:30 GMT -5
You're all sounding like clowns while she maintains good streams and solid radio back-up. Go touch grass or something. For real! TTPD is great album and will continue to be a hit. This album is weeding out the casuals and I love it. |
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Deleted
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Post by Deleted on Apr 22, 2024 9:09:35 GMT -5
You're all sounding like clowns while she maintains good streams and solid radio back-up. Go touch grass or something. People were saying about Katy Perry that she could release a song of her burping and still get it to #1, we all know where she's at now. It's okay to be a fan, but not a fanatic. There’s certainly a difference between fan and fanatic but your posts are giving delusional out of touch hater. Like, Katy Perry, really? Anyways, congrats to Taylor swift for another record breaking smash album. Safe to say this is already or will easily become the biggest 11th studio album in music history? |
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Angel
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Post by Angel on Apr 22, 2024 9:23:48 GMT -5
Idk I kinda feel like nothing would take the wind out of her sail like making another Lover full of ME!s. Never forget that that was probably her worst received single of her career. Personally I prefer this introspective Taylor that makes me think and dissect the lyrics.
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Post by imbuemyblue on Apr 22, 2024 9:29:44 GMT -5
While that post is very overwrought, I will say that I was slightly surprised that there weren't more commercial tracks (aside from ICDIWABH). To me all of the singles from 'Midnights' are more radio ready. But Taylor is making the music she wants and that is her prerogative. I do wonder about how this affects her commercial and radio success long term.
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musiclife
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Post by musiclife on Apr 22, 2024 9:33:54 GMT -5
You're all sounding like clowns while she maintains good streams and solid radio back-up. Go touch grass or something. People were saying about Katy Perry that she could release a song of her burping and still get it to #1, we all know where she's at now. It's okay to be a fan, but not a fanatic. Please lol |
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avamaxstan
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Post by avamaxstan on Apr 22, 2024 9:41:39 GMT -5
The meltdowns over her "sabotaging" her career because, 18 years in and currently the biggest artist on the planet, she's not solely focused on releasing quick lil' dance-pop singles. When we're all aware that her career was on a declining trajectory when she was doubling down on that sound in the late 2010s, and her current massive career peak was jumpstarted because she switched-up to material similar to TTPD. We have to laugh.
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nickd
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Post by nickd on Apr 22, 2024 10:06:25 GMT -5
You're all sounding like clowns while she maintains good streams and solid radio back-up. Go touch grass or something. People were saying about Katy Perry that she could release a song of her burping and still get it to #1, we all know where she's at now. It's okay to be a fan, but not a fanatic. People were saying Taylor could release 7 seconds of white noise and it would get to #1. It almost did. |
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nickd
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Post by nickd on Apr 22, 2024 10:12:30 GMT -5
The meltdowns over her "sabotaging" her career because, 18 years in and currently the biggest artist on the planet, she's not solely focused on releasing quick lil' dance-pop singles. When we're all aware that her career was on a declining trajectory when she was doubling down on that sound in the late 2010s, and her current massive career peak was jumpstarted because she switched-up to material similar to TTPD. We have to laugh. I don't know if I agree with that narrative considering how Midnights and 1989 TV (and Cruel Summer) performed compared to Folklore and Evermore. People are definitely still here for Poplor. |
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avamaxstan
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Post by avamaxstan on Apr 22, 2024 10:28:09 GMT -5
The meltdowns over her "sabotaging" her career because, 18 years in and currently the biggest artist on the planet, she's not solely focused on releasing quick lil' dance-pop singles. When we're all aware that her career was on a declining trajectory when she was doubling down on that sound in the late 2010s, and her current massive career peak was jumpstarted because she switched-up to material similar to TTPD. We have to laugh. I don't know if I agree with that narrative considering how Midnights and 1989 TV (and Cruel Summer) performed compared to Folklore and Evermore. People are definitely still here for Poplor. I know, I said that the Folkmore era "jumpstarted" her career renaissance - it took public opinion of her as an artist to new heights, expanded her fanbase and restored her critical darling status. I think there's fairly broad agreement it was a calculated risk that paved the way for the domination of 2022-present and for her to smash again with mainstream pop. |
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Post by theycallmedualian on Apr 22, 2024 11:09:35 GMT -5
I don't know if I agree with that narrative considering how Midnights and 1989 TV (and Cruel Summer) performed compared to Folklore and Evermore. People are definitely still here for Poplor. I know, I said that the Folkmore era "jumpstarted" her career renaissance - it took public opinion of her as an artist to new heights, expanded her fanbase and restored her critical darling status. I think there's fairly broad agreement it was a calculated risk that paved the way for the domination of 2022-present and for her to smash again with mainstream pop. Yeah but that’s the problem - after all the years of rebuilding since folklore, she’s finally at the highest point of her career again, and yet she opted to NOT do mainstream pop but instead do something with a much more limited commercial viability. I mean, she EASILY could match Morgan wallen with a 16 week #1 album and single; but with this, I doubt both go reach 10. I’m not saying TTPD will have bad longevity or that she’s self-sabotaging. Just pointing out TS11 would’ve been that much bigger if the project was more mainstream. This album only appeals to a segment of her base, not for the majority of the masses, or even the majority of her fans. It’s certainly not gonna do all that well in Europe or South America, and even in the Philippines, which is her second strongest country after Australia, Fortnight is probably gonna fail to debut at #1. Mind you, cruel summer is the 3rd Biggest hit of that country. What a mind boggling decision it is to release a narrow-appealing project when you have the world at your fingertips. And for the people saying:” there’s always next year for her”; no. She will still be big next era but certainly not THIS big. She can drop her boppest bop to date as single next time and i bet you it won’t debut at 25m Spotify streams. that's why I am adamant in saying she’s squandered the opportunity she worked so hard for. |
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ccchui
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Post by ccchui on Apr 22, 2024 11:14:03 GMT -5
I don't know if I agree with that narrative considering how Midnights and 1989 TV (and Cruel Summer) performed compared to Folklore and Evermore. People are definitely still here for Poplor. I know, I said that the Folkmore era "jumpstarted" her career renaissance - it took public opinion of her as an artist to new heights, expanded her fanbase and restored her critical darling status. I think there's fairly broad agreement it was a calculated risk that paved the way for the domination of 2022-present and for her to smash again with mainstream pop. I also agree Folklore is really a game-changer for her career. Even though it is not pop music, but that switch up make her gain a different type of fans that may not necessary vibes with her until Folklore and a lot of those fans stay with her when Midnight, all the re-recording and The Eras Tour as they are able to look at her old catalogue with fresh eyes. And I will say Cruel Summer and the Lover Album resurgence since last year is definitely a by-product from Folklore era because we know Lover was seemed by many as a commercial disappointment back in 2019 if looking back of how all the press/public describe her back then. (It still amused me that now that album goes back to sell well even better than Midnights - Australia #1 Album last week - crazy). So I think Taylor is smart this time to do a switch up on TTPD with less pop sounds to make it less similar to Midnights but a bit more Folklore/Evermore-ish but not exactly the same, so people will not say she is doing "Midnights 2" which is not good for her career neither if people think she is just copy and paste something she did in her last album. Anyway let's just say it is tough to have longevity in commercial success for everyone. No matters how success you were in one point. Eventually you will still replace by others no matter who you are. I think Taylor has 2 commercial peaks is already a rarity actually. I hope she just enjoy the ride and do whatever she feels is right for her. |
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HEADOFTHEPACK
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Post by HEADOFTHEPACK on Apr 22, 2024 11:27:07 GMT -5
Comparisons are tough (and usually unnecessary) but the only one I can think of is Madonna. Hadn't thought about it too much before as they're quite different artists, but in terms of the peaks and re-peaks of their career, response to those ebbs and flows sometimes being reactive, a slight left turn and not quite what people wanted/expected.
In Taylor's case, Reputation and potentially this album, the latter more so in an terms of an 'expected' release by an artist at her career peak.
In Madonna's case it was definitely more dramatic switches, Erotica and American Life are good examples - on the flip side, you have Confessions as the re-peak response after American Life sort of failed. You could argue Bedtime Stories fits in there too with Human Nature. The business acumen and career 'control'. The exposure and saturation.
Again, very different artists, but there's a thread in terms of their attitude, agency over their career, industry and cultural influence, desire for commercial success and just generally being everywhere. They court it.
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cjay
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Post by cjay on Apr 22, 2024 11:39:17 GMT -5
I assume Reputation TV will come out within the next 18 months. The vault tracks will be commercial pop. It may be smart of her to give us a break. Having another smash like cruel summer and Anti Hero would definitely exhaust her on radio. With TTPD she can maintain credibility, build on her brand and break more records without exhausting the radio airwaves. Unless she serves up some remixes, I don’t see any of her TTPD singles getting higher than top 5/7 airplay.
I like Lover and Midnights as they are a mix of indie pop and commercial pop. But I grew to like Folklore and I already have a positive view of TTPD.
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hughster1
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Post by hughster1 on Apr 22, 2024 11:39:40 GMT -5
Comparisons are tough (and usually unnecessary) but the only one I can think of is Madonna. Hadn't thought about it too much before as they're quite different artists, but in terms of the peaks and re-peaks of their career, response to those ebbs and flows sometimes being reactive, a slight left turn and not quite what people wanted/expected. In Taylor's case, Reputation and potentially this album, the latter more so in an terms of an 'expected' release by an artist at her career peak. In Madonna's case it was definitely more dramatic switches, Erotica and American Life are good examples - on the flip side, you have Confessions as the re-peak response after American Life sort of failed. You could argue Bedtime Stories fits in there too with Human Nature. The business acumen and career 'control'. The exposure and saturation. Again, very different artists, but there's a thread in terms of their attitude, agency over their career, industry and cultural influence, desire for commercial success and just generally being everywhere. They court it. Yep - while Gaga is of course Madonna's successor in terms of sound and style, when looking at commercial impact and career trajectory Taylor is a closer match (and IMHO Taylor is even bigger than Madonna at her peak!). |
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Post by Rose "Payola" Nylund on Apr 22, 2024 11:43:08 GMT -5
I know, I said that the Folkmore era "jumpstarted" her career renaissance - it took public opinion of her as an artist to new heights, expanded her fanbase and restored her critical darling status. I think there's fairly broad agreement it was a calculated risk that paved the way for the domination of 2022-present and for her to smash again with mainstream pop. Yeah but that’s the problem - after all the years of rebuilding since folklore, she’s finally at the highest point of her career again, and yet she opted to NOT do mainstream pop but instead do something with a much more limited commercial viability. I mean, she EASILY could match Morgan wallen with a 16 week #1 album and single; but with this, I doubt both go reach 10. I’m not saying TTPD will have bad longevity or that she’s self-sabotaging. Just pointing out TS11 would’ve been that much bigger if the project was more mainstream. This album only appeals to a segment of her base, not for the majority of the masses, or even the majority of her fans. It’s certainly not gonna do all that well in Europe or South America, and even in the Philippines, which is her second strongest country after Australia, Fortnight is probably gonna fail to debut at #1. Mind you, cruel summer is the 3rd Biggest hit of that country. What a mind boggling decision it is to release a narrow-appealing project when you have the world at your fingertips. And for the people saying:” there’s always next year for her”; no. She will still be big next era but certainly not THIS big. She can drop her boppest bop to date as single next time and i bet you it won’t debut at 25m Spotify streams. that's why I am adamant in saying she’s squandered the opportunity she worked so hard for. Okay but recording and releasing music intended for the broadest audience possible results in boring music. Don’t get me wrong. I love super general pop songs and they absolutely have a place in the world and are needed, but they can also be boring in many ways and don’t have a long shelf life unless they can go on to exist as nostalgia-fodder, which I’m sure Taylor’s would be, but if you can afford to not make the status-quo of pop music, why would you? You’re basically upset because she’s not making pop friendly music for the masses and that’s really strange to me. |
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Ling-Ling
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Post by Ling-Ling on Apr 22, 2024 12:07:54 GMT -5
I dunno! I don't agree with either side here. This album has hits on it, I'm not sure why the naysayers are acting like this is some esoteric album that doesn't feature some incredibly digestible music. Yes, it's slower and harder to get through because it's so long, but she can easily land a handful of hits with this. She got three with Midnights, I think that's a very easy repeat with TTPD.
On the flip side, you have some Swifties claiming this isn't for casual fans and it's dense and hard to digest. Musically, it's not that either. One glance at the lyric sheet and these songs are all easy to understand and straight-forward. Even for people with a rudimentary knowledge of her recent history. And there's nothing truly challenging here musically or melodically either. Pretty standard for her to be honest. The only problem is that it's so long and the production lacks variety making it a more taxing listen.
I've seen comparisons to Tori/Fiona and... just no, lmao. This is not that. Boys For Pele for example was a truly challenging album musically and lyrically. This is just a long ass Taylor Swift album IMO.
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Post by theycallmedualian on Apr 22, 2024 12:25:38 GMT -5
Yeah but that’s the problem - after all the years of rebuilding since folklore, she’s finally at the highest point of her career again, and yet she opted to NOT do mainstream pop but instead do something with a much more limited commercial viability. I mean, she EASILY could match Morgan wallen with a 16 week #1 album and single; but with this, I doubt both go reach 10. I’m not saying TTPD will have bad longevity or that she’s self-sabotaging. Just pointing out TS11 would’ve been that much bigger if the project was more mainstream. This album only appeals to a segment of her base, not for the majority of the masses, or even the majority of her fans. It’s certainly not gonna do all that well in Europe or South America, and even in the Philippines, which is her second strongest country after Australia, Fortnight is probably gonna fail to debut at #1. Mind you, cruel summer is the 3rd Biggest hit of that country. What a mind boggling decision it is to release a narrow-appealing project when you have the world at your fingertips. And for the people saying:” there’s always next year for her”; no. She will still be big next era but certainly not THIS big. She can drop her boppest bop to date as single next time and i bet you it won’t debut at 25m Spotify streams. that's why I am adamant in saying she’s squandered the opportunity she worked so hard for. Okay but recording and releasing music intended for the broadest audience possible results in boring music. Don’t get me wrong. I love super general pop songs and they absolutely have a place in the world and are needed, but they can also be boring in many ways and don’t have a long shelf life unless they can go on to exist as nostalgia-fodder, which I’m sure Taylor’s would be, but if you can afford to not make the status-quo of pop music, why would you? You’re basically upset because she’s not making pop friendly music for the masses and that’s really strange to me.Because youre SUPPOSED to release the for-masses stuff at your absolute commercial peaks, that way your career can be as big as possible? this is just common sense, its what EVERY music execs and managers would be advising, you realize this right? she's supposed to captivate the new audiences that she worked so hard to gain, when normally they wouldnt bat her stuff an eye. but instead she gave them nothing. she made an album specifically for her older millennial core instead. The newfound attention shes got from Europeans, when theyve always been indifferent towards her work all this time but now are willing to give her a look due to her upcoming massive tour, do you think they'll stick around for TS12? All the NFL male audiences who wouldnt bat her stuff an eye but is now curious since the travis kelce relationship do you think they'll stick around for TS12? All the new south american audiences who only recently started paying her attention recently, do you think they'll be impressed? and even all the non-taylor young genZ young girls, the ones that dont care about her story but are willing to stay for bops, do you think they'll care for TS12 now? ALL of these new onlookers which made her 310M spotify debut possible, she did nothing to retain them. instead, she dropped something she couldve dropped at any point the next 10-20 years. her core audience wouwldve still ate it up all the same. do you realize how baffling and mindnumbing unwise dropping TTPD is now? |
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Angel
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Post by Angel on Apr 22, 2024 12:44:47 GMT -5
Okay but recording and releasing music intended for the broadest audience possible results in boring music. Don’t get me wrong. I love super general pop songs and they absolutely have a place in the world and are needed, but they can also be boring in many ways and don’t have a long shelf life unless they can go on to exist as nostalgia-fodder, which I’m sure Taylor’s would be, but if you can afford to not make the status-quo of pop music, why would you? You’re basically upset because she’s not making pop friendly music for the masses and that’s really strange to me.Because youre SUPPOSED to release the for-masses stuff at your absolute commercial peaks, that way your career can be as big as possible? this is just common sense, its what EVERY music execs and managers would be advising, you realize this right? she's supposed to captivate the new audiences that she worked so hard to gain, when normally they wouldnt bat her stuff an eye. but instead she gave them nothing. she made an album specifically for her older millennial core instead. The newfound attention shes got from Europeans, when theyve always been indifferent towards her work all this time but now are willing to give her a look due to her upcoming massive tour, do you think they'll stick around for TS12? All the NFL male audiences who wouldnt bat her stuff an eye but is now curious since the travis kelce relationship do you think they'll stick around for TS12? All the new south american audiences who only recently started paying her attention recently, do you think they'll be impressed? and even all the non-taylor young genZ young girls, the ones that dont care about her story but are willing to stay for bops, do you think they'll care for TS12 now? ALL of these new onlookers which made her 310M spotify debut possible, she did nothing to retain them. instead, she dropped something she couldve dropped at any point the next 10-20 years. her core audience wouwldve still ate it up all the same. do you realize how baffling and mindnumbing unwise dropping TTPD is now? Honestly I'm glad Taylor did a passion project because where else does she have to go??? This album is gonna do somewhere between 2-2.7M this week, she's likely to have something like 15 songs in the top 20, and she is still on the biggest tour of all time. Maybe she'd rather have a slow bleed than get any more suffocatingly huge. Also, how realistic is it that an album like 1989 would have been received well? It might get the numbers but it would likely also get all the same bs from detractors 1989 got back in the day, that it's milquetoast, vapid, or ultimately doesn't say anything of substance. The best example I can give of the pitfalls of fame is Michael Jackson. He chased fame and acceptance so much that when Bad didn't outsell Thriller it sent him into a spiral that he never really recovered from. Does anyone really want to see someone else suffer the same fate? Sure, I'm being fatalistic. Taylor Swift is not Michael Jackson. But you get my point. |
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Choco
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Post by Choco on Apr 22, 2024 12:47:48 GMT -5
Maybe she just dropped a mid album because she knew she could still get career best debuts out of it. Does it trigger a career decline? No one knows.
Let's be honest the way we eat up her every single release, it's not hard to think she might have gotten a bit too stale and comfortable on the Jack Antonoff/Aaron Dessner factory. There was no need to challenge herself like with folklore or 1989 where she was making very important changes.
It was bound to open well and even then it's beating most projections. I think considering the Eras Tour should wrap up this year and she might move on to the next TV soon, it doesn't have to be a long era either so the singles do not need to be on the Midnights level.
As a fan I do wish I liked it more? But it is what it is. It's nothing creatively offensive either a la Witness where it gets me to cancel my stan card.
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Post by Rose "Payola" Nylund on Apr 22, 2024 12:52:04 GMT -5
Okay but recording and releasing music intended for the broadest audience possible results in boring music. Don’t get me wrong. I love super general pop songs and they absolutely have a place in the world and are needed, but they can also be boring in many ways and don’t have a long shelf life unless they can go on to exist as nostalgia-fodder, which I’m sure Taylor’s would be, but if you can afford to not make the status-quo of pop music, why would you? You’re basically upset because she’s not making pop friendly music for the masses and that’s really strange to me.Because youre SUPPOSED to release the for-masses stuff at your absolute commercial peaks, that way your career can be as big as possible? this is just common sense, its what EVERY music execs and managers would be advising, you realize this right? Lol, “SUPPOSED to”? “Realize this”? Lol. I mean, if it were that logical and common sense and simple, surely she would have done just that. Are your credentials and experience beyond those of the people involved in making Taylor’s career as big as it is to justify why your advice is better than whatever advice she’s following right now? |
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Enigma.
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Post by Enigma. on Apr 22, 2024 12:53:56 GMT -5
Maybe she just dropped a mid album because she knew she could still get career best debuts out of it. Does it trigger a career decline? No one knows. Let's be honest the way we eat up her every single release, it's not hard to think she might have gotten a bit too stale and comfortable on the Jack Antonoff/Aaron Dessner factory. There was no need to challenge herself like with folklore or 1989 where she was making very important changes. It was bound to open well and even then it's beating most projections. I think considering the Eras Tour should wrap up this year and she might move on to the next TV soon, it doesn't have to be a long era either so the singles do not need to be on the Midnights level. As a fan I do wish I liked it more? But it is what it is. It's nothing creatively offensive either a la Witness where it gets me to cancel my stan card. This.. And and add to that the fact that 31 tracks will keep it at #1 until Drake, Kendrick or Billie Eilish drop their next albums, she will just go and relax and enjoy touring (and release Reputation TV to a #1 debut in the process). |
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Choco
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Post by Choco on Apr 22, 2024 12:58:58 GMT -5
I'm very curious about Billie! HTE had a lot of confusing single and promo choices but I do feel like the Barbie song helped her recover a bit. And the title track was just such a nice moment that sadly never quite aligned chart wise. But it's a career best song.
If the quality is there I can see it being a nice rebound commercially, even if it doesn't quite match her first full album numbers wise.
Or it could be a bunch of ballads like "TV" and she gets diminishing returns. Hopefully not.
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Envoirment
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Post by Envoirment on Apr 22, 2024 13:32:47 GMT -5
I will not stand for the slander of "Fortnight". Fast becoming one of my favourite singles she's released and the music video is great too. Certainly going to be a big hit in its own right!
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HEADOFTHEPACK
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Post by HEADOFTHEPACK on Apr 22, 2024 13:33:12 GMT -5
Okay but recording and releasing music intended for the broadest audience possible results in boring music. Don’t get me wrong. I love super general pop songs and they absolutely have a place in the world and are needed, but they can also be boring in many ways and don’t have a long shelf life unless they can go on to exist as nostalgia-fodder, which I’m sure Taylor’s would be, but if you can afford to not make the status-quo of pop music, why would you? You’re basically upset because she’s not making pop friendly music for the masses and that’s really strange to me.Because youre SUPPOSED to release the for-masses stuff at your absolute commercial peaks, that way your career can be as big as possible? this is just common sense, its what EVERY music execs and managers would be advising, you realize this right? she's supposed to captivate the new audiences that she worked so hard to gain, when normally they wouldnt bat her stuff an eye. but instead she gave them nothing. she made an album specifically for her older millennial core instead. The newfound attention shes got from Europeans, when theyve always been indifferent towards her work all this time but now are willing to give her a look due to her upcoming massive tour, do you think they'll stick around for TS12? All the NFL male audiences who wouldnt bat her stuff an eye but is now curious since the travis kelce relationship do you think they'll stick around for TS12? All the new south american audiences who only recently started paying her attention recently, do you think they'll be impressed? and even all the non-taylor young genZ young girls, the ones that dont care about her story but are willing to stay for bops, do you think they'll care for TS12 now? ALL of these new onlookers which made her 310M spotify debut possible, she did nothing to retain them. instead, she dropped something she couldve dropped at any point the next 10-20 years. her core audience wouwldve still ate it up all the same. do you realize how baffling and mindnumbing unwise dropping TTPD is now? It's not for any of those people. It's for her. She's said as much. You're also way overestimating how much casual listeners care about the career arc of Taylor Swift - or Taylor Swift, period. One mid album doesn't change a thing, they'll be back for the next big pop smash. And the next one. |
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Deleted
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Post by Deleted on Apr 22, 2024 13:39:01 GMT -5
I assume Reputation TV will come out within the next 18 months. The vault tracks will be commercial pop. It may be smart of her to give us a break. Having another smash like cruel summer and Anti Hero would definitely exhaust her on radio. With TTPD she can maintain credibility, build on her brand and break more records without exhausting the radio airwaves. Unless she serves up some remixes, I don’t see any of her TTPD singles getting higher than top 5/7 airplay. I like Lover and Midnights as they are a mix of indie pop and commercial pop. But I grew to like Folklore and I already have a positive view of TTPD. Yeah. Debut TV and Reputation TV are coming next year |
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HEADOFTHEPACK
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Joined: November 2008
Posts: 6,102
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Post by HEADOFTHEPACK on Apr 22, 2024 13:47:46 GMT -5
I've seen comparisons to Tori/Fiona and... just no, lmao. This is not that. Boys For Pele for example was a truly challenging album musically and lyrically. This is just a long ass Taylor Swift album IMO. is comparing this to Tori and Fiona?! |
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Post by Rose "Payola" Nylund on Apr 22, 2024 14:00:56 GMT -5
I've seen comparisons to Tori/Fiona and... just no, lmao. This is not that. Boys For Pele for example was a truly challenging album musically and lyrically. This is just a long ass Taylor Swift album IMO. is comparing this to Tori and Fiona?! Tbh it was probably me but it was less a comparison of works as much as a comparison of situations and what if’s: This is going to be an entire vomit of thoughts so bear with me here. The discourse around Taylor's songwriting and lyrics as being bad, poorly written or stupid is becoming interesting to me because people would never say that about songwriting bosses like Tori Amos and Fiona Apple, both of whom are revered for their songwriting ability. Even the mere suggestion of comparing Taylor to someone like Tori and Fiona would get people scoffing so hard, they'd choke, but is it unreasonable to say she could already be there? I like both Tori and Fiona but admit for the most part, their lyrics go over my head. Tori creates entire scenarios and worlds amidst the themes of her albums. In the 2000s, she had a string of long-winded albums that were hard to get into without dedication, time, patience, and the ability to understand various writing styles from college-grade english-writing classes. Similarly, Fiona's Fetch The Bolt Cutters was a super dense album, as was the one before it. Both are known for that and respected because of it. The same things are being saying about TTPD. It's dense. Lyrically challenging. But because Taylor is a pop star, people aren't willing to accept she might be capable of the same depth we expect from a Fiona Apple, a Tori Amos, or whoever else. They either can't accept that she can do it, or they won't admit that someone behind big, catchy pop hits can also be behind something that could be lyrically challenging. Yet, unlike Fiona and Tori, I'm able to read the background into some of Taylor's lyrics via social media because fans and others are able to explain them and share their own realizations. I eventually learn that what once read like a silly lyric actually was intentionally written with reason behind it, because obviously, but for someone who doesn't get the point of a particular verse or line, it is going to sound stupid to them. Another point is that so much of Taylor's music revolves around the whole 'Taylor lore' I keep reading. I have zero interest in the personal lives of a songwriter or artist. I don't really care who the songs are written about, but what I enjoy about Taylor's songs is that I believe she captures the human experience well, which she obviously got through her own experiences, and we keep learning more about her through her songs, which is becoming more apparently with this new album. I enjoyed Folklore and Evermore probably more because they weren't written about her own life (so she says). Someone said (here or twitter, or a review, I'm not sure) that Taylor is interesting enough as a person to care about her personal experiences, and I do agree. I actually don't find her super interesting lol, at least in the way I know of her, which obviously isn't going to be well because I've never met her lol. But I think she's done a great job at taking the mundane parts of life and turn them into expertly written lyrics and stories. That's her strength. She's garnered a reputation as a songwriter along with being a pop star. And pop music has gotten a lot more respect as a respectable art form in the last decade, but I think there's a ceiling to which pop stars reach in the realm of how seriously they can be taken. Maybe part of that is to do with the fans. (I don't think stans do many favours for their favs) If we took a pop star known for melodic pop hits and they suddenly dropped a Fetch The Bolt Cutters or an American Doll Posse, those albums very well could be questioned lyrically in much the same way a subset of people are so gleefully doing to TTPD right now. Most wouldn't get them. I think artists like Tori and Fiona benefit by not being placed front and centre in mainstream culture. Their music succeeds by reaching only those who are interested in lyrically-dense works. People often say they wish their lesser-known or not-as-popular favs could crossover and have hits and sales, but I think now that it's a blessing they don't, because not everyone would get it. And that's okay. I very often don't want to have to work in order to enjoy music or art. But sometimes, I'm okay being challenged with it too. Obviously, it's okay to not like the lyrics, the album or to not like Taylor either, but I think the way people are expressing that is telling more about themselves. |
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