Quote:
Originally posted by Kworb
TIHWD is by far the best song she has ever recorded and an undeniable hit. But radio punishes artists for their mistakes. If they play the crap out of a song that after a few weeks proves itself to be GP poison, that's not something they can easily forgive. Especially if the next single is similar in style. Birthday and TIHWD are both childish uptempo songs. They don't even look at how the GP embraces one over the other (TIHWD had massive sales and streams, Birthday had extremely low sales and streams). They remember all the spins they wasted on the previous single and the damage it did to their reputation. So they don't want to risk making the same mistake twice.
Birthday carries all of the blame. It ended the era internationally, it destroyed her US radio goodwill, it ended her reputation as a consistent hit maker. Her career may never recover.
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you're talking like Funeral completely went down in flames like a gee you why, and that it was such a bomb that radio stations started breeding animosity towards her just for playing it (thus 'ending the era internationally', which we both know is utter BS since Blackface Horse's run of slayage extended for roughly 454 more weeks afterwards).
keep in mind that it still sold more than TIHWD, and that it reached the top 20 pretty fast (granted, its complete bomb of a 'music video' with zero replay value killed any chance at becoming a decent-sized streaming hit). Katy isn't a new artist; she's allowed freebies and underperformances. your logic of 'punishment' exerted by stations would theoretically make sense for some other artists, but I don't see how Birthday, which was such a lightweight, predictable but not at all polarizing 4th single, could be considered 'GP poison' by any conceivable standard, like, say... a gee you why. It was a sugary little disco trifle that landed one summer too late, and simply didn't make much impact among the GP.
TIHWD-- and this is the last time I'll mention the song, I swear-- was a garish, atonal, overproduced, brain-dead, transparent grab at relevance through meme-ification now that JIZZM had wasted all of its heavy hitters. it amused me back in October of last year, but I cannot understand why someone would think so highly of it, especially someone who, our difference in music tastes be damned, is as articulate and knowdledgeable as you.
can you try to explain (in entirely subjective terms) what makes it click for you? i can barely hide my contempt for K Pee and that's no secret, but if I were to pick something like a 'career-best' song from hers, I would probably choose something corrosive that has real personality like Ur So Gay, or something gracious and streamlined like, say, Wide Awake. Just NOT this mess
Godryl finally delivered after that abomination called Crazy Stupid Love.