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27bored

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  1. 27bored

    The Sounds of Our Lives (formerly General Music Discussion)

    Hope Old Town Road does make history. I kind of love the wrongness of that happening. Lil Nas X isn’t really that compelling on a talent level. He’s got two things working against him in hip-hop: he’s gay and he’s from the new school of SoundCloud rap that’s moreso AutoTuned singing that rapping. Like a Travis Scott knock-off. Plus, he came in on a scandal. But then he teamed with Billy Ray Cyrus, a past-his-prime country singer who hasn’t had a hit of his own in over twenty years. And together these two score a cross-platform hit that is not only perfection in both of their respective genres, but makes history. I’m excited for both of them. Especially if they take down Despacito. I never once tried to listen to that song but it was everywhere. Just that 1-800 song with Logic, Alessia Cara, and Khalid and Girls Like You by Maroon 5 and Cardi B. Speaking of whom, how do you guys feel about Ed Sheeran releasing the remix of “Shape of You” with Camila Cabello and Cardi B? [checks notes] Oh, sorry. I meant “South of the Border”? The triple entendre being that he’s singing about sex, collaborating with two women of Caribbean heritage (Cuba and Dominican Republic), and going on vacation. Get it? It’s good, huh? Huh? Yeah, no. That whole Frodo Baggins-meets-Jason Mraz, Hi-I’m-A-Busker-With-Unkempt-Hair-And-Dope-Rhymes-For-A-White-Guy thing is wearing suuuper thin. You don’t sound like a lover man; you sound like you’re proposing to take a girl out to lunch.
  2. Of course. My point was just that Taylor has probably made the money she’s going to make from her past work. She’s come out the other side of a record deal and multi-millionaire. Her work will always be out there, but my point is, people tend to move on more quickly than they used to. Taylor seems smart and has good people around her, so I think she can understand that. Why give up a substantial amount of wealth now in the hopes you’ll recoup that back off your old work? And if you were that concerned, why not re-up with the label that made you a star and at least own your work at the end of the day? Which is probably more BS spin from her side, because if the entire reason she left is to bet on her future in part because she knew the company was going to be sold, how did she not have a chance to buy the label if she had the means to do it? If she could get some investors to outbid Scooter, the shareholders would’ve been obligated, née legally required, to consider her bid. She’s playing dumb because she hates that Scooter Braun owns the label and thus her masters that she was fine with leaving behind. I can understand her consternation over her masters. I think Scott had a fully legitimate reason to not just sell them to her, because catalog is bread and butter to any label but especially an indie label, and I think she’s being disingenuous because the unwashed masses don’t know how the record industry works or how business in general works, but still...I get it even if I can’t side with her. The “I didn’t have a chance to buy the label” bit is just ridiculous, and it kinda makes me question her purse even more. It’s possible they gave her a price, she couldn’t negotiate it down and couldn’t raise the money, so she had to negotiate to own them conditionally (hence the idea that they said she would earn her masters one by one if she re-signed) but their offer still wasn’t good enough.
  3. That doesn’t contradict what I said. Taylor would’ve had to put up a lot of money to buy her masters outright. Even if we assume she has access to that much cash, and no one was trying to outbid her, you have to think a few steps ahead. There’s no guarantee she’s going to make all that money back, even if she does well at Republic and continues to collect on her back catalog. That’s why I said she probably couldn’t afford to do it even if she had the money. And furthermore, owning masters used to be more lucrative than it is now, because there are so many more artists, major label acts going indie, people not buying albums like they used to, and radio not being as big as it once was. Michael Jackson and the Beatles and Madonna and Elvis have catalogs that still make a lot of money to this day, but they’re of a different time. Taylor Swift is a big artist, but let’s take a slightly cynical view for a second: how many of Taylor’s old songs do you care about hearing again? And I mean in a way that would net her some serious cash, like product placements and whatnot, not if you really like “Mine” and go listen to it in Spotify every now and then. Ahem.
  4. Taylor emotionalizes everything, so I’m not going to accept her framing of the deal just on the strength. Scott said his final offer to Taylor was that at the moment she re-signed, all her rights would be transferred to her. Not that she’s have to earn them back one by one. That means, hypothetically, if she got dropped, she would still own her back catalog. Taylor wanted to just buy back her masters for a sum of money and make it a clean break, but that gets more complicated (for the label she’s leaving). Like I said, Scott has shareholders to answer to. Even if he sold them to her, the label has that money liquid, perhaps, but that’s still diminishing the overall worth of the label. Taylor doesn’t have to care about that, but she should factor it in before calling someone a bully. Also, and I’ve heard this a lot about Taylor and it seems true, but Taylor just doesn’t want to be alone in her beefs. I can’t vouch for Scooter, but just because Taylor doesn’t like him doesn’t mean Scott is disloyal for not hating him too. Artists don’t just do whatever their managers say (which I’ll get to with Ariana in a second). They have other people in their ears telling them to do stuff or not to do stuff. They may back them or stay silent through things in the aftermath, but behind the scenes people get into it with their managers all the time. So before I call Scooter da debbil, I want to know what he did specifically. Not what he’s blamed for by proxy. My guess is Scooter and Taylor are probably a lot alike. Ariana isn’t being forced to tour by Scooter. She put out two big-budget albums in under a year, that were both heavily promoted. She owes people, which means she has to work. I understand Mac Miller’s death affecting her, but I think she played the Pete Davidson thing wrong. She got engaged too quickly, IMO, and using that relationship to roll out her album wasn’t the best idea because it was still new. Then she dropped him like a sack of potatoes. Plus, I hear Ariana might have her own substance issues simmering. Not sure, but people love substituting “mental health” for “addiction” when it comes to celebrities. He posted a copy of a document showing that they were offering her the opportunity to own her masters for resigning. Her text message showed she understood she was giving up her back catalog to bet on her future, and that she had a sober understanding that Scott did what he had to do. Why send him a fawning text if you really felt you were being screwed over? Perhaps she didn’t have anyone to fully explain the whys and how comes behind his decision, or maybe she didn’t care. My guess is Taylor can’t afford to buy her masters outright, which isn’t the same thing as simply not having the money. You never know what a project is going to do. You never know how well a tour is going to do. So if she gave up a chunk of her fortune just to own her masters, she wouldn’t be broke any time soon, but that puts a lot of stress on her to deliver on future projects. The reason I believe Borchetta is because it makes sense for her to do what she did. This way she keeps the wealth she’s attained, she gets a massive contract still kinda at the peak of her career, and any time someone wants to license her back catalog, she still gets a cut, even if it’s not the whole thing. I can imagine her being okay with that arrangement until she found out Scooter bought the label, then it became this grand betrayal.
  5. 27bored

    Unpopular Opinions about Music

    Word. The former is how she pronounces her name, but it did throw me off when she said the latter in Bitch Better Have My Money.
  6. So, I got the feeling the part about Scooter was more to show Scooter had no ill-will towards Taylor and perhaps even to show Taylor’s issue with him mostly one-sided. I don’t think he was just trying to shit on her, the way she did him and the way Todrick Hall did to Scooter. The publicist is doing a little rhetorical sleight-of-hand. The bottom line, it seems, is those with a proprietary stake in the company, including her dad, were invited to this call, there was a discussion, and a vote was taken. This didn’t just happen behind her back where none of her people could have known. Plus, Taylor was leaving/had left by this point, so while I can understand her feelings given she has a personal relationship with Scott, he kinda doesn’t owe her anything. Her dad may not have been on the call — I thought I read a lawyer was on the call on his behalf, but whatever — but he could at least explain to her how acquisitions and mergers work. If Taylor knew the label was going to be sold, well, one, that means she was privy to some information many people normally would not have. But second, that further confirms my point: Taylor didn’t get her way so now she’s mad. The label’s catalog is their primary asset. The whole POINT of a label is to push a catalog of music. So while artists get far up their own asses about their work and being compensated and the evils of the industry, few of them seem to understand what a label actually does. So Taylor, if they’re planning on selling the company, no sweetheart, they’re not going to let the most lucrative catalog they have walk out the door without much to show for it. Scott Borchetta might have a loyalty to Taylor as a friend, but he has a fiduciary responsibility to his shareholders, and an obligation to his employees and other artists, to keep the business afloat. Plus, I understand her concerns and I’m not blaming her for them, but Taylor, give me a break. Wherever you go, you’re going to be a priority. They’re going to open a budget and allocate resources to promote your projects. The smaller and/or newer artists are the ones who have to worry about getting lost in the shuffle. You’ll still get to pull strings when you want. Maybe not as many if you’re not close to the boss like she is with Borchetta, but still. It’s not an easy situation and there are no clear villains or victims, but to me it looks like Scott was being as fair as he could to Taylor, but she’s pissed because she feels he should have capitulated more in letting her buy her masters and she hates Scooter, so she doesn’t want to have to deal with him on a business level.
  7. Meh. Scooter probably told Todrick he’s going to have to do more if he doesn’t just want to be popular in the YouTube/Pride Festival circuit and he took that to be homophobic. Sorry if that comes off harsh, but Todrick, nobody was talking to you, and trying to throw dirt on that man’s name just so you can stay in Taylor’s good graces is late. You guys should read this article: https://www.digitalmusicnews.com/2019/06/30/scott-borchetta-responds-taylor-swift/ If what Scott is saying is true, Taylor’s not only being disingenuous, but it’s what I suspected. She wanted to eat her cake and have it too. What he said about them being an indie label with finite resources makes TOTAL sense. That isn’t an example of the music industry being shady. Somebody told her she ought to have it all — the lucrative contract with Republic and every trace of her work for Big Machine. Taylor’s success wasn’t just her work — it was the work of her label to promote and market her music and work to get her opportunities.
  8. 27bored

    Unpopular Opinions about Music

    I liked her voice, but I do think Amy was mostly good marketing. The beehive ‘do, the waify frame, the pointy eye shadow, Rehab...She just hit with the right look and the right song at the right time. She had a tortured soul that gave her a mystique. And also, I think being a critical darling helps. They loved Frank and Back to Black. UO: It annoys me to no end when people can’t say Ariana Grande’s name right. Hearing people call her “Ehriana” is like fucking nails on a chalkboard.
  9. On the flip side, outside of hip hop, we mint female pop stars much more quickly than we do male pop stars. And female pop stars tend to get bigger than most male pop stars.
  10. This sounds like a bunch of bullshit from Taylor. I wouldn’t be surprised if we got the full story, it’s probably a simple matter of Scott Borchetta not giving Taylor what she wanted and her not being able to get it with her coterie of attorneys. I doubt she’s being bullied or fucked over by the industry. If anything, Taylor probably has less to complain about than most artists. Also, I think she’s starting to see some of her relevance slip. Last two singles debuted high then dropped pretty quickly. Her album will likely do well, debut number one like Katy Perry’s last album, but if people aren’t hooked by any of the lead singles, it may wind up being a flop.
  11. 27bored

    The Sounds of Our Lives (formerly General Music Discussion)

    If you need a good, angry yet catchy pop song that you can belt out when you’re pissed at someone, I give you this song from Kelly Clarkson’s album, “Stronger”. I’ll just leave this here (make sure you turn this up):
  12. Taylor’s not just some random artist. Her track record is impressive in comparison to most artists, past or present, but there has been a fall off. There’s the natural fall off that happens when artists stop chasing the fame and success — like Kelly Clarkson, for example — and then there’s the fall off that happens when your shtick gets old and people start getting tired of you. I just saw this video of I Knew You Were Trouble from the 1989 tour: One: Taylor looks like an egret when she does her pop star strut. Second: you don’t have to be a great dancer to be able to take inventory of choreography. Choreography doesn’t work if the Star seems disconnected from it. This could’ve worked better with just band and vocals and maybe let the dancers come in the middle or something. Third: while I like this arrangement, this sounds a bit like if Halsey did I Knew You Were Trouble. And finally, this arrangement really makes me wish Taylor could really sing. There’s a lot of space for her to ad-lib and riff and run and match the energy a bit. But Taylor seems swallowed up by the whole thing.
  13. That’s not what I’m talking about. I understand bisexuality exists; I’m talking about how it tends to work as an arc in a public figure’s narrative. It’s usually less about living one’s truth and more about upping the ante on their sex appeal or a play for the gay audience. These days there’s typically a third reason, which is to incubate oneself with convenient political rhetoric so the next time somebody says something sideways about you, you have a built-in audience who will rush to your defense...even if they’re not really into what you’re doing, either. With Taylor, I also feel like this is yet another example of her playing the victim. You Need To Calm Down has a scene in the video where a bunch of rednecks are yelling about...something. Taylor, people have been “calm” on you for a minute. That’s why your last few singles came and went. That’s why you’re hinting at bisexuality and making up with Katy Perry.
  14. 27bored

    Unpopular Opinions about Music

    I agree with this, but I would say it’s saying something that of those four bands, Eddie Vedder is the only frontman still alive and didn’t succumb to drug addiction. I agree here as well. Fun fact: Moses Avalon, author of Confessions of a Record Producer, has a story about a band he heard a few years before Nirvana came out. Raw sound, low-quality, but different and exciting. They didn’t want to sell out by signing a deal. He said (and this was almost twenty years ago) the band fell by the wayside and the lead singer was still delivering pizzas when a small blurb on MTV’s 120 Minutes (remember them?) about a new band came on. Same look, same sound. Nirvana.
  15. These last two singles haven’t been it. “Me!” could’ve worked as a lead single for a film. As a lead off single, it’s just LAME! Not only that but the big video underlines the song. A lyric video would’ve sufficed, but it’s clear this was meant to work. Eh. “You Need To Calm Down” is...yeah. I’ve heard the gay rumors about Taylor and I’ve mostly not cared, nor have I believed them, but I will say I hope if Taylor is going to reveal something about her sexuality at this stage in the game, I hope it’s followed up by something we can see. Meaning, if Taylor’s not gay but is kind of into girls, I’m sorry but she can keep that. That’s not an announcement. That’s not really news. That doesn’t make her queer and an outcast. If anything, it just seems like The Gay Rollout that we’ve seen before. I always wonder when I hear female celebrities claim to be bisexual or pansexual or whatever how many serious, committed relationships they have had or would have with a woman. If you just like to get drunk/high and make out with chicks sometimes, that’s your business, but it’s not really a revelation. And if the extent of your being pro-LGBT or part of that group is having Todrick Hall and other dudes prance around in heels in your music video, that just comes off shallow and self-serving because at the end of the day you’re trying to sell a product. It’s always interesting to me when pop stars, especially female pop stars, don’t seem to realize when the savviest move they can make is to Do Less/Do What We Liked You For In The First Place. As a minor, fair weather fan, I bet there are so many people who wish Taylor would just pick up the guitar again and make another Country record. They would be perfectly fine. But Taylor wants to Grand Marshal the Pride parade, so... We’ll see how this works out for Tay Tay, but I’m thinking it might have some quickly diminishing returns.
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