" the effect is that of a musical theater kid trying on costumes she found in the high school storage closet, not a chameleonic performer flexing her innate versatility "
I'll never understand why Britney's streaming stats end up being kinda weak even after promising starts. I mean, Work Bitch actually had nice success for her standards, but even it stalled a bit after a while, to the point where Baby One More Time surpassed it in overall views and just became her biggest video ever (besides Scream & Shout, obviously)
I'll never understand why Britney's streaming stats end up being kinda weak even after promising starts. I mean, Work Bitch actually had nice success for her standards, but even it stalled a bit after a while, to the point where Baby One More Time surpassed it in overall views and just became her biggest video ever (besides Scream & Shout, obviously)
Her Brazilian stans can only force themselves to refresh so many times after months
Not another gurney discussion
Leave this disabled garbage alone
Quote:
slate magazine review excerpt :
" the effect is that of a musical theater kid trying on costumes she found in the high school storage closet, not a chameleonic performer flexing her innate versatility "
I'll never understand why Britney's streaming stats end up being kinda weak even after promising starts. I mean, Work Bitch actually had nice success for her standards, but even it stalled a bit after a while, to the point where Baby One More Time surpassed it in overall views and just became her biggest video ever (besides Scream & Shout, obviously)
Britney hasn't had a super smash since the streaming era started. And ...Baby One More Time is a better song and video than Work Bitch and was a bigger hit all around.
*Monsters bring up and shade Gurney every chance they get (without ANYONE else mentioning Gurney)
Monsters: "UGH can you guys stop bringing up GURNEY into every discussion!!!1111"
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.