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POPGAF |OT3| Geo Da Silva > nails on chalkboard > Taylor Swift

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D

Dr. Malik

FlatAss_
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A7M3C1PCcAAkXl-.jpg

tumblr_md6nilVEts1qdmb8eo3_1280.jpg

684452375.jpg



Give her a nobel prize

iUPyPvKtCiVVZ.gif
 
B

B-Dex

Member
Good thing all of your faves are releasing their stuff in November because ANNE HATHEWAY and AMANDA SEYFRIED are about to snatch all of their wigs and send them packing. Say goodbye to all your faves sales as the soundtrack to this will destroy it.

They tried. Even tried getting out early to avoid it.


ALSO: The singing was filmed LIVE ON SET. Your gurls are on notice. Step it up.
 
R

royalan

Member
Ok, took a sabbatical to get my Paradise on.

Now fully returned to Camp Lotus. This album is just tops.

And Shut Up is one of my faves. Fuck the haters, the beat knocks, Xtina slays it and the chorus gives me 90s Punk-Pop teas.

And if you don't like it, you can suck my uhhh...
 
A

Artemisia

Banned
royalan said:
Ok, took a sabbatical to get my Paradise on.

Now fully returned to Camp Lotus. This album is just tops.

And Shut Up is one of my faves. Fuck the haters, the beat knocks, Xtina slays it and the chorus gives me 90s Punk-Pop teas.

And if you don't like it, you can suck my uhhh...
Click to expand...

it gives me 'I Don't Give A' teas, except the part where it's good

iUPyPvKtCiVVZ.gif
 
C

Crumpet Trumpet

Banned
Snippets of Solange's True EP

I suppose this will do for now. Pouring one out for Wynter Gordon.

ediT: And for good measure, a new article about Solange:

Our walk was supposed to take us from Homemade, the quiet restaurant near the waterfront where we ate breakfast, to Knowles’s studio near the BQE, where she’s finishing up True, a new seven-song EP, set for release this month (and expected to be followed early next year by a full-length album). She usually rides a bike or drives her Mercedes SUV from her home in Carroll Gardens, and we’re having trouble finding the place on foot. “Fun field trip!” she sings, chattering on the way about her tattoos (she has an angel’s wing on the inside of each wrist, and her 8-year-old son Julez’s name on her hip) and recording with British producer Dev Hynes (Florence + the Machine, the Chemical Brothers). She considers cutting through an alley, which is blocked on one end by a semi truck we’d have to crawl under, but decides against it because she’s with company.

By the time we meet our friend in the track pants, she’s given up and we’re waiting on a corner for Knowles’s assistant to give us a ride. A crowd gathers. “The beautiful Solange,” says another man, who’s eating chicken jambalaya out of a Styrofoam container and offers her some. “I just ate,” she says, which is true. “Otherwise, I would totally dig into that.”
When her car arrives, Knowles hops into the back seat, already stuffed with her bicycle and a dozen chairs that she’s hauling to a True listening party tonight at a friend’s Soho loft. “I brought [the chairs] from my house because I didn’t want to pay to rent them,” she says.

She is paying for her own EP. She parted ways with her record company, Interscope, after her last album, 2008’s Sol-Angel and the Hadley St. Dreams, sold poorly. But the split was mutual: She felt trapped, particularly when Interscope tried to block her unlicensed cover of a Dirty Projectors song. “I wasn’t actually selling it. I was just putting it out,” she says. “Lil Wayne was on the same [parent] label, rapping over every single person’s songs on all of his mixtapes, and no one ever complained because I’m sure he just put it out and said ‘Fuck you.’ I was saying ‘Fuck you’ so much that they were like, ‘Well, you don’t have to be here.’” Interscope released her from her contract even though she still owed them albums.

Thanks to sidelines in D.J.’ing and songwriting (she co-wrote her sister’s 2007 single “Get Me Bodied”), and savings from her teenage gig as a Destiny’s Child backup dancer, she could afford to go it alone. “I made my entire record on my own from top to bottom,” she says. “Everything from studio-equipment rentals to actually creating a studio.” The DIY approach befits her music, which shares some DNA with Beyoncé’s radio-friendly R&B but takes just as many cues from indie rock and eighties synth-pop. True will be distributed by Terrible Records, a tiny label co-run by her friend Chris Taylor, bassist for Grizzly Bear. (Knowles caused a blog explosion in 2009 when she brought Beyoncé and brother-in-law Jay-Z to a Grizzly Bear concert at the Williamsburg waterfront. “They’re an incredible band,” Jay said later.) “The entire album has been about me calling my friends, like, ‘Will you make a video with me?’ ‘Okay, cool. Let’s do it,’" she says.

Knowles’s friends provide matchmaking services, too. She started dating music-video director Alan Ferguson, her boyfriend of four years, after R&B singer Janelle Monáe and others talked him up to her. “We had a lot of mutual friends who were all putting little buggies in each other’s ear,” Knowles says. The couple moved with Julez to Brooklyn last year to be closer to their families on the East Coast, particularly Knowles’s sister and niece, Blue Ivy. Plus, Knowles didn’t want Julez growing up in Los Angeles, where he’d spent much of his childhood living on Hollywood Boulvard among costumed characters. “He actually told my mom, ‘Spider-Man is our neighbor!’ and I was like, ‘Oh my God, we have to leave.’”
Knowles met Julez’s father, Daniel Smith, now a college-football coach, when she was 13 and he was 16. Though Solange, 26, and Beyoncé, 31, are five years apart, they became “super-duper close,” she says, after Solange got pregnant at 17, married Smith, and followed him to Idaho, where he was attending college. Being a mom, she says, “was always chill and easy for me.” But “marriage is a whole ’nother ball game.” She was divorced by the time she was 21. It was a time “when you really, really need your sister. Every time there was drama and I was all the way in Idaho, it was nice to be able to call. Now it’s kind of a reversal, with her getting married and having a baby after me.”

They see each other at least once a week. “Blue comes over, I babysit,” says Solange. “[Beyoncé] takes Julez sometimes for the weekend. [Blue] and Julez are going to grow up more like sister and brother than cousins.” Julez is “showing signs of wanting to be an artist” and seems to have learned something from his uncle—he writes raps. “He loves it. It’s so scary,” says Knowles.

At the listening party that night, Solange stands before a group of about 25 friends, holding Hynes’s hand to her heart. They’re both sweating. The tracks they play feature layers of synthesizers, often over African drums. Jay-Z nods approvingly in the corner, and Beyoncé—a monochromatic vision in golden hair, gold pants, and a gold sweater—dances in her chair, singing along. When it’s over, Solange grabs the mike and yells, “Now we can get drunk and dance!” She throws herself around the room, whooping and shaking to Mariah Carey and Toni Braxton songs. Jay and B leave early, but the party continues past midnight. “I’m drunk and the ribbing on my dress is cutting into me, but this is great,” Solange tells me, before jumping back out onto the dance floor. Then, after everyone’s gone, she stays to clean up. And she still has those chairs to take home.
Click to expand...
 
K

Kyon

Banned
Lol my favorite part of that G2BR episode is in that scene.

Aretha:"I mean

iHDNOr8V4sR5H.gif


all that money you got and you take out Smurfette barefoot.

Bey: It's Blue

Aretha: Im colorblind to the bullshit
 
S

Soulscribe

Member
iconezao_banner_5.jpg


INTRODUCTION

Christina Aguilera is an interesting pop star to talk about because of the ironic truths paired with her legacy work. By that I mean this: she is one of the prime examples today of a female pop whose name exceeds her work. For someone with such powerful name-brand recognition worldwide, many (like myself) would argue that her career as a “pop song” maker is quite weak. Outside of her debut singles, a couple of Stripped gems and literally one or two recognizable singles from Back To Basics, Christina Aguilera has a huge legacy problem. For someone who’s designated herself as a “pop star,” she has a very spotty history as one. Her debut album was a late-90s manufactured pop model; a record with two or three great pop songs, but otherwise saturated with uninspired drivel that existed simply to complete an album. People hardly remember much of her debut album outside of the singles, and honestly, her record label probably got their wish there. Stripped has been characterized, at least so far, as her “Thriller,” except for an album that’s meant to be her definitive “pop” tableau, the album generally characterizes itself as denser R&B/Soul than real radio pop. Back To Basics was an inspired masterpiece that was never meant to take radio by storm, and outside of a couple of high-performing singles, never really blew up the charts. Bionic was an uneven experiment that yielded not-so-catchy songs and not-so-hot sales. Between her first album (which most true Xtina fans ignore) and Bionic (which most humans ignore) sit two albums with over-saturated material with songs that are mostly not very catchy. Good songs? Yes. But catchy, radio-friendly, approachable songs? Not so much.

When pop fans ask me to recommend them a Christina album, I always hesitate. Her debut album is hardly representative of her density as a musician, so that’s out. Stripped is her “hardest” effort, but unless you’re a fan of R&B, you’re gonna find it to be a long and tedious listen. Back to Basics hardly has her catchiest tunes, and again, can never be something I’d recommend for someone looking for real pop music. Bionic might actually be my best bet in this instance (it has the most quintessentially “poppy” songs from any of her albums), but even though many more Bionic songs qualify as mainstream pop, they’re just not very good.

This is why LOTUS is the most important album of Christina Aguilera’s career. Finally an album that is quintessentially synonymous with her job title! Christina has prided herself on experimenting and “trying something new,” but she holds a unique case of NOT having a status quo. Every album of hers has been a complete 180 from the last, but where’s the original jumping off point? When does Christina play it safe and go back to what she does best? What does she do best anyway?

Lotus reminded me of the answer. Christina works best when her monstrous vocals are POUNDING on a dance track. Her vocal style is pure energy; pure MOMENTUM. Hitting a high note or one riff is not enough, she’s like a car engine that starts at point A and climbs with fierce velocity until the exhaust can’t take another hit. And her tone is rich but stamped with sheer power. Listening to her hit those fiery moments blows me away like no entertainer ever has or will.

So where does Lotus fit in all this? For one, the album is the single BEST demonstration of her vocal style, bar none. Sure she’s hit higher notes on Stripped, and longer notes on Back to Basics, and higher range on her debut album, but her vocal style goes beyond that. It’s knowing which points to hit and which to hold back on. I’ve considered her first four albums are her hitting vocal highs and lows, and Lotus is the proof-read. She’s edited herself, and understands now when the time’s right for a growl, for a whisper, or for a powerhouse riff.

Secondly, the album is her most concise and consistent one. It’s a celebration of pop in its purest form: a collection of eclectic songs that give you something the other songs won’t. It’s unbelievable that a pop star had to have us wait 11 years for her first real pop album. It cuts out the interludes, the segways, the monologues… it doesn’t need it. This time, it’s Christina playing by everyone else’s rules. She’s not the outlier anymore. She’s diving head first into the game to show all these motherfuckers up.

But does she? This is the first time we get to hear Aguilera paired with genetically mainstream material. It’s been a long time coming, but Christina’s finally ready to give radio pop a shot.


STAY TUNED FOR PART TWO, THE TRACK-BY-TRACK BREAKDOWN...
 
A

Artemisia

Banned
I went to a bookstore with amazing headphones and listened to some Homogenic songs

It's like a new album again

iUPyPvKtCiVVZ.gif


I have never been slain this hard
 
R

royalan

Member
Soulscribe said:
iconezao_banner_5.jpg


INTRODUCTION

Christina Aguilera is an interesting pop star to talk about because of the ironic truths paired with her legacy work. By that I mean this: she is one of the prime examples today of a female pop whose name exceeds her work. For someone with such powerful name-brand recognition worldwide, many (like myself) would argue that her career as a “pop song” maker is quite weak. Outside of her debut singles, a couple of Stripped gems and literally one or two recognizable singles from Back To Basics, Christina Aguilera has a huge legacy problem. For someone who’s designated herself as a “pop star,” she has a very spotty history as one. Her debut album was a late-90s manufactured pop model; a record with two or three great pop songs, but otherwise saturated with uninspired drivel that existed simply to complete an album. People hardly remember much of her debut album outside of the singles, and honestly, her record label probably got their wish there. Stripped has been characterized, at least so far, as her “Thriller,” except for an album that’s meant to be her definitive “pop” tableau, the album generally characterizes itself as denser R&B/Soul than real radio pop. Back To Basics was an inspired masterpiece that was never meant to take radio by storm, and outside of a couple of high-performing singles, never really blew up the charts. Bionic was an uneven experiment that yielded not-so-catchy songs and not-so-hot sales. Between her first album (which most true Xtina fans ignore) and Bionic (which most humans ignore) sit two albums with over-saturated material with songs that are mostly not very catchy. Good songs? Yes. But catchy, radio-friendly, approachable songs? Not so much.

When pop fans ask me to recommend them a Christina album, I always hesitate. Her debut album is hardly representative of her density as a musician, so that’s out. Stripped is her “hardest” effort, but unless you’re a fan of R&B, you’re gonna find it to be a long and tedious listen. Back to Basics hardly has her catchiest tunes, and again, can never be something I’d recommend for someone looking for real pop music. Bionic might actually be my best bet in this instance (it has the most quintessentially “poppy” songs from any of her albums), but even though many more Bionic songs qualify as mainstream pop, they’re just not very good.

This is why LOTUS is the most important album of Christina Aguilera’s career. Finally an album that is quintessentially synonymous with her job title! Christina has prided herself on experimenting and “trying something new,” but she holds a unique case of NOT having a status quo. Every album of hers has been a complete 180 from the last, but where’s the original jumping off point? When does Christina play it safe and go back to what she does best? What does she do best anyway?

Lotus reminded me of the answer. Christina works best when her monstrous vocals are POUNDING on a dance track. Her vocal style is pure energy; pure MOMENTUM. Hitting a high note or one riff is not enough, she’s like a car engine that starts at point A and climbs with fierce velocity until the exhaust can’t take another hit. And her tone is rich but stamped with sheer power. Listening to her hit those fiery moments blows me away like no entertainer ever has or will.

So where does Lotus fit in all this? For one, the album is the single BEST demonstration of her vocal style, bar none. Sure she’s hit higher notes on Stripped, and longer notes on Back to Basics, and higher range on her debut album, but her vocal style goes beyond that. It’s knowing which points to hit and which to hold back on. I’ve considered her first four albums are her hitting vocal highs and lows, and Lotus is the proof-read. She’s edited herself, and understands now when the time’s right for a growl, for a whisper, or for a powerhouse riff.

Secondly, the album is her most concise and consistent one. It’s a celebration of pop in its purest form: a collection of eclectic songs that give you something the other songs won’t. It’s unbelievable that a pop star had to have us wait 11 years for her first real pop album. It cuts out the interludes, the segways, the monologues… it doesn’t need it. This time, it’s Christina playing by everyone else’s rules. She’s not the outlier anymore. She’s diving head first into the game to show all these motherfuckers up.

But does she? This is the first time we get to hear Aguilera paired with genetically mainstream material. It’s been a long time coming, but Christina’s finally ready to give radio pop a shot.


STAY TUNED FOR PART TWO, THE TRACK-BY-TRACK BREAKDOWN...
Click to expand...

Sis, I wait with BREATH THAT IS BAITED.

That was a well executed breakdown of Xtina's position in the Pop genre. Can't wait for the track-by-track breakdown.

And this paragraph:

Lotus reminded me of the answer. Christina works best when her monstrous vocals are POUNDING on a dance track. Her vocal style is pure energy; pure MOMENTUM. Hitting a high note or one riff is not enough, she’s like a car engine that starts at point A and climbs with fierce velocity until the exhaust can’t take another hit. And her tone is rich but stamped with sheer power. Listening to her hit those fiery moments blows me away like no entertainer ever has or will.
Click to expand...

Is almost word-for-word similar to something I have written down in a Word document that I have open while listening to Lotus.
 
<+)O Robido O(+>

<+)O Robido O(+>

Member
Soulscribe said:
iconezao_banner_5.jpg


INTRODUCTION

Christina Aguilera is an interesting pop star to talk about because of the ironic truths paired with her legacy work. By that I mean this: she is one of the prime examples today of a female pop whose name exceeds her work. For someone with such powerful name-brand recognition worldwide, many (like myself) would argue that her career as a “pop song” maker is quite weak. Outside of her debut singles, a couple of Stripped gems and literally one or two recognizable singles from Back To Basics, Christina Aguilera has a huge legacy problem. For someone who’s designated herself as a “pop star,” she has a very spotty history as one. Her debut album was a late-90s manufactured pop model; a record with two or three great pop songs, but otherwise saturated with uninspired drivel that existed simply to complete an album. People hardly remember much of her debut album outside of the singles, and honestly, her record label probably got their wish there. Stripped has been characterized, at least so far, as her “Thriller,” except for an album that’s meant to be her definitive “pop” tableau, the album generally characterizes itself as denser R&B/Soul than real radio pop. Back To Basics was an inspired masterpiece that was never meant to take radio by storm, and outside of a couple of high-performing singles, never really blew up the charts. Bionic was an uneven experiment that yielded not-so-catchy songs and not-so-hot sales. Between her first album (which most true Xtina fans ignore) and Bionic (which most humans ignore) sit two albums with over-saturated material with songs that are mostly not very catchy. Good songs? Yes. But catchy, radio-friendly, approachable songs? Not so much.

When pop fans ask me to recommend them a Christina album, I always hesitate. Her debut album is hardly representative of her density as a musician, so that’s out. Stripped is her “hardest” effort, but unless you’re a fan of R&B, you’re gonna find it to be a long and tedious listen. Back to Basics hardly has her catchiest tunes, and again, can never be something I’d recommend for someone looking for real pop music. Bionic might actually be my best bet in this instance (it has the most quintessentially “poppy” songs from any of her albums), but even though many more Bionic songs qualify as mainstream pop, they’re just not very good.

This is why LOTUS is the most important album of Christina Aguilera’s career. Finally an album that is quintessentially synonymous with her job title! Christina has prided herself on experimenting and “trying something new,” but she holds a unique case of NOT having a status quo. Every album of hers has been a complete 180 from the last, but where’s the original jumping off point? When does Christina play it safe and go back to what she does best? What does she do best anyway?

Lotus reminded me of the answer. Christina works best when her monstrous vocals are POUNDING on a dance track. Her vocal style is pure energy; pure MOMENTUM. Hitting a high note or one riff is not enough, she’s like a car engine that starts at point A and climbs with fierce velocity until the exhaust can’t take another hit. And her tone is rich but stamped with sheer power. Listening to her hit those fiery moments blows me away like no entertainer ever has or will.

So where does Lotus fit in all this? For one, the album is the single BEST demonstration of her vocal style, bar none. Sure she’s hit higher notes on Stripped, and longer notes on Back to Basics, and higher range on her debut album, but her vocal style goes beyond that. It’s knowing which points to hit and which to hold back on. I’ve considered her first four albums are her hitting vocal highs and lows, and Lotus is the proof-read. She’s edited herself, and understands now when the time’s right for a growl, for a whisper, or for a powerhouse riff.

Secondly, the album is her most concise and consistent one. It’s a celebration of pop in its purest form: a collection of eclectic songs that give you something the other songs won’t. It’s unbelievable that a pop star had to have us wait 11 years for her first real pop album. It cuts out the interludes, the segways, the monologues… it doesn’t need it. This time, it’s Christina playing by everyone else’s rules. She’s not the outlier anymore. She’s diving head first into the game to show all these motherfuckers up.

But does she? This is the first time we get to hear Aguilera paired with genetically mainstream material. It’s been a long time coming, but Christina’s finally ready to give radio pop a shot.


STAY TUNED FOR PART TWO, THE TRACK-BY-TRACK BREAKDOWN...
Click to expand...

I queued up Lotus for the first time, just because of this. <3 It better be good.

jTVCD0XKqoETD_e.jpg
 
A

Aguila

#ICONIC
I own a few Bjork songs. I only listen to them when I want to go to sleep tho.

ietyQALyhNPr2.gif

Except for Earth Intruders.
 
D

DMeisterJ

Banned
Listened to Paradise

I like them all aside from Yayo. I wasn't feeling that. Ride, Cola, and Gods and Monsters tho >>>>

I might stan for this girl in the future.

Koodo said:
Gurls, I'm inside the theatre waiting for SKYFALL.

iboJefhkQsgvhn.gif



I can't handle iTdkdvsjsldbdkslsjdbfkglalvjrjrbd
Click to expand...

Let the sky fall *.*
 
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