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Fan Base: Archived: Taylor Swift (#1)
Member Since: 11/29/2010
Posts: 19,664
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Quote:
Originally posted by OnlyManInTheWorld
Do you think she's made a mistake turning into pop? Why is she getting so much hate nowadays? is it because people have lost respect for her new music or because of her recent love affairs?  |
The main problem is that she got overexposed with that Haylor BS. Making things worse was the fact that it turned out to be another short relationship. So much ammo for haters....they were screaming loud enough for more prominent media outlets to take notice. Release of WANEGBT before all this. And here we are.
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Member Since: 12/7/2010
Posts: 26,813
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I do really have a feeling turning into pop was a mistake for her. I mean, that article...
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Member Since: 12/13/2011
Posts: 26,638
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The guy will look like a fool if they release All Too Well as the next single. 
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Member Since: 8/9/2012
Posts: 6,580
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Am I the only one who thinks that she's fine? I just feel that behind that fake image the old brave Taylor who wasn't afraid of being a bitch is trying to break out. I hope I'm right 
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Member Since: 12/7/2010
Posts: 26,813
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Quote:
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Griffin also accused Taylor of lip syncing and “using some sort of Auto-tune” but apparently Kathy wasn’t listening, because it would be hard to lip sync or use Auto-tune and be that out-of-tune at the same time
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http://www.savingcountrymusic.com/ta...ars-rockin-eve
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Member Since: 12/13/2011
Posts: 26,638
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God, I am tired of this talk about her "losing her way" or that she's "not herself". I am exiting the base until we stop with this BS discussion.
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Member Since: 11/9/2011
Posts: 12,849
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That bad bitch inside Her IS tired of the fake BS. She is trying to get out. But on the other hand, the cnts on her PR & Marketing team would advise Her different things that is pretty safe and easy for them, even if it damages Her reputation. Bitch needs to fire those arse first.
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Member Since: 8/9/2012
Posts: 6,580
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I need the Lord to win ROTY and give an iconic speech where she will tell everyone to fck off. I really do need it 
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Member Since: 8/17/2011
Posts: 3,613
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Quote:
Originally posted by boyswifty
Am I the only one who thinks that she's fine? I just feel that behind that fake image the old brave Taylor who wasn't afraid of being a bitch is trying to break out. I hope I'm right |
I hope you're right too. And you probably are. We're all probably just overreacting.
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Member Since: 11/15/2010
Posts: 6,478
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Recording 
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Member Since: 11/9/2011
Posts: 12,849
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Member Since: 9/16/2011
Posts: 50,981
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Quote:
Originally posted by thediscomonkey
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Right in between Her fellow legends Bruce and Bob!
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Member Since: 11/29/2010
Posts: 19,664
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Quote:
Originally posted by thediscomonkey
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Between The Boss and Bob Dylan. Not bad. 
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Member Since: 11/15/2010
Posts: 6,478
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"I've been spending the last 8 months thinking all love ever does is break, burn end"
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Member Since: 11/15/2010
Posts: 6,478
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Quote:
Originally posted by Gossip_Boy
CHART DATE: 01/14/2013
LAST UPDATE: 01/15/2013 11:56:08
NOW IN: FINAL
LW TW artist / album label power index % change
-- 1 CHRIS TOMLIN SIX STEPS 69,583 --
BURNING LIGHTS
-- 2 HOLLYWOOD UNDEAD A&M/OCTONE 55,262 --
NOTES FROM THE UNDERGROUND
1 3 LES MISERABLES REPUBLIC 52,485 -52%
SOUNDTRACK
3 4 TAYLOR SWIFT BIG MACHINE 48,992 -41%
RED
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 lowest position so far!
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Member Since: 11/29/2010
Posts: 19,664
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WANEGBT- 6-th place. Max Martin his acclaim.
1 Carly Rae Jepsen, "Call Me Maybe"
Interscope Mentions: 97
2 Miguel, "Adorn"
RCA Mentions: 56
3 Usher, "Climax"
RCA Mentions: 54
4 Japandroids , "The House That Heaven Built"
Polyvinyl Mentions: 50
5 Frank Ocean, "Thinkin' 'Bout You"
Def Jam Mentions: 47
6 Taylor Swift, "We Are Never Ever Getting Back Together"
Big Machine Mentions:42
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Member Since: 9/16/2011
Posts: 50,981
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Quote:
Originally posted by thediscomonkey
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On their songs list:
6. WANEGBT
59. IKYWT
251. Sacred & Superior
459. Holy Ground
459. I Almost Do
459. All Too Well
459. Treacherous
459. Eyes Open
459. Begin Again
(they're all at 459 because each received 1 vote/ mention).
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Member Since: 11/9/2011
Posts: 12,849
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Quote:
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Pazz & Jop: Taylor Swift, Grimes, and Lana Del Rey: The Year in Blond Ambition
How dare they have an image
By Jessica Hopper
It seems so long ago—certainly more than 52 weeks—since we were all a fluster at the audacity of Lana Del Rey. Her crimes, it seemed, were legion and very, very serious—far beyond whether her music was good. She was not good on Saturday Night Live. Her lips, perhaps, had collagen in them. A few years ago, she was playing A&R showcases with hired guns in an ugly blouse, and now she was all over Pitchfork like she was a real-deal indie ingénue, but it turned out she already had a deal with Interscope. Her name was not actually Lana Del Rey, and unlike any artist in the history of ever, she went to private school.
As we bust Hey Kool-Aid–style into the new year with a clean slate and hindsight, it seems fair enough to chalk up our lil' Lana freak-out as part of the continuing and long-standing issue with female ambition and the idea that image consciousness is somehow antithetical to making true art, an insult against rock's visceral heart. It's a problem we tend to have with girls and women more than with the boys (word to Jack White's continuing Campaign 4 Rock 'n' Pop Realness). This past year proved there is a special sort of animus reserved for women—Lana Del Rey, Taylor Swift, and Grimes's Claire Boucher—whose ambitions seemed especially naked and, if you will, feminine.
So it is only natural that young female artists engage us and communicate with their image(s) as much as they do with their music. Image is perhaps an even more effective vehicle for their expression than songs. No girl escapes teenhood without a keen awareness of exactly how the world sees her, what it expects of her; she knows the weight of the world's desire down to the ounce. Young women's arduous fandom of an act is often seen as the very proof of their music's artlessness, so rapt are girls with image that it supersedes any sort of real relationship with the music. And even though Swift and Boucher placed high in this Pazz & Jop—Lana less so (Born to Die, #54 album)—the critique with all three has frequently fallen to the seeming purposefulness of their artifice: their awareness of it; their dutiful maintenance of it.
We took Del Rey's ambitions personally, as if she was preying upon us, marking us as hornball simps so seduced by her ****y licking of her fake/not-fake lips that we'd buy in on whatever she was selling. The offense being? That we'd fall for something so constructed? Or was it the fact of the construction itself?
In the case of Grimes, Boucher's great trespass was mutability. It implied that Visions was not art, but just a parcel to her extended play of dress-up. Through her videos and stage wear, she flirted with Gothic Lolita, manga-fied superheroine, neon-clad Sea Punk. Regardless of what that tells us about Boucher, it reads as immaturity, typical teenage-girl phases rather than a rapid artistic evolution. She doesn't really know who she is; she's merely flitting through whatever strikes her fancy. She is not serious about music. Her playful experimentation was written off as "human meme" (Stereogum) and, most derisively, "a human Pinterest board" (the Onion A.V. Club) for adopting ideas as they inspired her. Perhaps if she stopped dyeing her hair and ditched the MPC for an acoustic and some Bon Iver–grade earnestness, she could be taken seriously.
Part of what made Boucher's work so exciting this year was her zealous courtship of the zeitgeist, the irreverence of her ambition, that her cultural reference points were young and female. She's an autodidactic indie artist who reveres the plasticine qualities of Mariah Carey as her greatest influence. Subversion of manga imagery and lost-in-the-mix baby-voiced cooing are far from overt riot-girl raging that we use to commonly identify/verify feminist messaging in music.
Boucher's merchandising of ***** rings is more overt, though some still write it off as a ploy for attention.
Boucher had the temerity to manufacture merch that wasn't a T-shirt, something that asserted some shade of feminist expression, a rebuttal to the ****-'n'-balls scrawl on every dressing room wall, which is what she claimed. How is a plastic rendering of a vulva so utterly escandalo in the Internet age of 2012? (The gender divide on the *****-ring reporting is stark and telling of just how and who Grimes connects with.) While Boucher can be faulted for some things—is that a rain stick sample on "Know the Way"?—would she really be a better, more credible artist if she showed less ambition?
Swift, who is only a little younger than Boucher and Del Rey, and seems infinitely more fixed in what she presents, appeared to have a year of evolution for her image, as well. On Red, Swift deflects power with a kind of guilelessness. Love is something that she falls victim to; men are fundamentally the bad actors. She is amid a careful transition from pop's Virgin Queen into an age where it's less of a big deal to sing songs that imply that she has maybe had adult relations or a sleepover or two. Swift is a multimillion-dollar industry unto herself—she cannot simply pull a Miley. Throughout Red, she is frequently seduced, victimized, or unable to steel herself against her own desires. It is a curious thing to watch one of the most powerful cultural forces so carefully abdicate her own might.
Swift's mastery of her own feckless image is as finely honed a piece of work as any of Red's half-dozen singles; it engages so many of the common expectations of girlhood that it presents us with an impossibly perfected persona. Those controlled iterations of Swift are subject to constant remix due to her celebrity status, where her songs conflate with the tabloid fare of her life and create a grander narrative work. Be they peer, cad, or Kennedy, each new Swift boyfriend presents or disproves some song theorem of Red. The latest heavily circulated pap shot, which, this week, is Swift exiting a tropical isle, alone, via small craft, reads as forlorn from a distance of a pixely 30 yards—adding chiaroscuro to "Sad Beautiful Tragic." Swift's got a Joni problem now: The interest in whom she's seeing and speculation over which song is about which dude now obfuscates the merits of her work (though it is hard to suggest any human force could blunt the thundering Max Martin'd chorus of "Trouble," but alas).
To be galled by these three women's advances upon their audiences is to play the Pollyanna about how and why music is sold and produced, how any product gets across the transom to us. In their manipulations and fluid manifestations of their images, they show incredible deftness—a cultural prescience that speaks to their ambition and interest in being understood. All this girlish guile makes their art no less pure.
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Member Since: 8/9/2012
Posts: 6,580
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Who is the Grammy Country block going to vote in the GF?
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Member Since: 6/28/2011
Posts: 1,291
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Quote:
Originally posted by muddysquirrel
The main problem is that she got overexposed with that Haylor BS. Making things worse was the fact that it turned out to be another short relationship. So much ammo for haters....they were screaming loud enough for more prominent media outlets to take notice. Release of WANEGBT before all this. And here we are. |
Except now new rumors (there was some magazine article going around) say there wasn't a breakup afterall and they just had a fight and she left early, but they've been in contact every day since and plan to meet up when their rehearsals are both over with in a few weeks. :S
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