On Saturday, it was revealed that Interscope, Lady Gaga's label, has spent $25 million dollars to promote her flop album "ARTPOP," which is set to sell around 250 thousand copies in its first week -- that's a 75 percent drop from the first week album sales of "Born This Way" only two years ago. This weekend, plenty of Lady Gaga's little monsters prostituted themselves online, offering gay sex for people who buy at least 30 copies of "ARTPOP."
"She originally was going to have the album ready by last Christmas. They made her re-record it. When her tour wasn't selling, they invented a hip injury and told Gaga to go away for months so the public could be interested in her 'comeback.' After the lead single 'Applause' didn't get such a great reception, they made her re-record the album again. I hear that they allegedly paid radio stations in order to put the song at the top of their playlists," Jacob laughs.
Actually, I know this story is largely a joke, but I've been wondering for a while about the legitimacy of her hip injury. Long story short, hip injuries are serious. People rarely have the same level of dexterity in their legs afterward, and the way she's been throwing herself around stage this era (like, literally throwing herself around the stage) really makes me question if her serious hip surgery was really all that serious.
She said her hip is BETTER than before. Like how is that even possible?
Actually, I know this story is largely a joke, but I've been wondering for a while about the legitimacy of her hip injury. Long story short, hip injuries are serious. People rarely have the same level of dexterity in their legs afterward, and the way she's been throwing herself around stage this era (like, literally throwing herself around the stage) really makes me question if her serious hip surgery was really all that serious.
Not that anyone cares, but 1D's album has leaked.
I heard one song and....
Swift hopes to collaborate with new songwriters and producers. But she planned to begin, she said, by heading back into the studio with Max Martin and Shellback. I want to go in with Max and Johan first, just to figure out what the bone structure of this record is going to be.
I have a lot of things to draw from emotionally at the moment. But I have to draw from them with a different perspective than on Red. I cant say the same things over and over, you know? I mean, I think its just all the more important that I dont ever allow myself to coast.
At the same time, theres a mistake that I see artists make when theyre on their fourth or fifth record, and they think innovation is more important than solid songwriting. The most terrible letdown as a listener for me is when Im listening to a song and I see what they were trying to do. Like, where theres a dance break that doesnt make any sense, theres a rap that shouldnt be there, theres like a beat change thats, like, the coolest, hippest thing this six monthsbut it has nothing to do with the feeling, it has nothing to do with the emotion, it has nothing to do with the lyric. I never want to put things in songs just because that might make them popular, like, on the more rhythmic stations or in dance clubs. I really dont want a compilation of sounds. I just need them to be songs.
http://www.vulture.com/2013/11/taylor-swift-reigning-queen-of-pop.html
but also
>IKWYT's chorus
You could hear Martin and Shellback’s touch in the bright, punchy sound of those songs, “We Are Never Ever Getting Back Together,” “I Knew You Were Trouble,” and “22.” Yet the songs are unmistakably Swiftian; unlike other Martin songs, you can’t imagine them being recorded, interchangeably, by Katy Perry, or Pink, or any of the other usual suspects. Listen to a key line in “22”: “We’re happy, free, confused, and lonely at the same time / It’s miserable and magical.” It’s a classic Swift lyric: purple but precise, self-involved yet self-aware—all in all, about as spot-on a description of a young woman’s turbulent inner life as you’re likely to hear on hit radio.
yes, what kind of point was she trying to make when she did the exact same thing with that song?
I mean it works, but still.
That picture of Taylord is giving me serious Milla Jovovich teas.
The tour version that goes 3/4 of the way to Skrillex?
Actually, I know this story is largely a joke, but I've been wondering for a while about the legitimacy of her hip injury. Long story short, hip injuries are serious. People rarely have the same level of dexterity in their legs afterward, and the way she's been throwing herself around stage this era (like, literally throwing herself around the stage) really makes me question if her serious hip surgery was really all that serious.
It is better than the studio version.
Here's the extremely similar televised version
But have the other girls put on a performance like that in the past year?
Swift told me she could imagine a time when she’d stop performing and just be a writer. “When I’m 40 and nobody wants to see me in a sparkly dress anymore, I’ll be, like: ‘Cool, I’ll just go in the studio and write songs for kids.’ It’s looking like a good pension plan.”
There are still a few tracks I love... but I tend to agree.
I do like it more than Up All Night, but it lags behind Take Me Home.
this must be how Rihanna stans feel every other year
It's beautiful.
But the tracklisting is so whack. I just listened to Alien ---> Work Bitch ---> Perfume in that order and it is just
I'll let you have that one.perhaps the messiness and disorder of the tracklisting is intentional. Britney Jean is a personal album, after all.
OMG, I FINALLY GOT A WORKING LINK.
And I don't care for it.
Why did I waste all this time looking for it instead of sleeping?
Stefan;90343193 said:All the tracks from BJ have been trash. None have piqued my prostate thus far. Alien might grow on me, but we'll see.