#1 New Zealand
#1 Slovenia
#1 Tajikistan #2 United States
#2 Hungary #2 Mexico
#2 Romania
#3 Brazil #3 Canada
#3 Cyprus
#3 Macau
#3 Vietnam #4 Australia
#4 Belarus
#4 Bulgaria
#4 Cambodia
#4 Hong Kong
#4 Philippines
#5 Lebanon
#5 Singapore
#5 United Arab Emirates
#6 British Virgin Islands
#6 Czech Republic #6 Italy
#7 Costa Rica
#8 Taiwan #10 United Kingdom
#10 Japan
#1 New Zealand
#1 Slovenia
#1 Tajikistan #2 United States
#2 Hungary #2 Mexico
#2 Romania
#3 Brazil #3 Canada
#3 Cyprus
#3 Macau
#3 Vietnam #4 Australia
#4 Belarus
#4 Bulgaria
#4 Cambodia
#4 Hong Kong
#4 Philippines
#5 Lebanon
#5 Singapore
#5 United Arab Emirates
#6 British Virgin Islands
#6 Czech Republic #6 Italy
#7 Costa Rica
#8 Taiwan #10 United Kingdom
#10 Japan
all the biggest markets
Germany, France, etc. are missing.
But she's doing decently.
Pure Records sold in the U.S week 1 and 2 for Gaga
1) 170,000 albums + 140,000 singles = 310,000 records (#1 on Artist 100)
2) 45,000 albums + 90,000 singles = 135,000 records (most likely #1 on Artist 100, #2 at LEAST)
already 450,000 records sold in the U.S in the first couple weeks of the era
And your face
What is it about you?
That I can't erase baby
When every promise don't work out that way
No no baby
When every promise don't work out that way
I was surprised to see the mixed reception for this one... and then I wasn't.
Further proof of a deep generational chasm that divides ATRL into two camps; the twentysomething pop sophisticates with 15 to 20 years of top-shelf pop consumption to their name, and an unruly kid crew with Scream Queens avatars and tributes to Nick Jonas in their signatures. It's not that the latter generation is a lost cause entirely, but they've clearly never heard a "Britney" — that is, they've never encountered a voice quite as distinctive as Britney's. "But I know Britney! Circus was the first album I bought!" First off, ask for a refund. And no, you don't know Britney, you know a very stilted and subdued version of the iconic performer.
The Britney of "Private Show" is Britney as Britney is intended to sound. She very skillfully vacillates between a range of tones; she nasally, then guttural, then grainy, then nasally again, then delicate. (And yes, that's how she's supposed to do it.) She's sultry. She's goofy. She's sounds slightly absurd. She's fully engaged. She's expressive in ways that "technically superior" vocalists just aren't. She is brilliant. You have no idea how brilliant she is.
This is the probably purest attempt Britney has made to harness some of that ineffable charm that made her early work so irresistible. I adore it.
